• Little Known Facts: A Novel
    Little Known Facts: A Novel
    by Christine Sneed
  • Portraits of a Few of the People I've Made Cry: Stories
    Portraits of a Few of the People I've Made Cry: Stories
    by Christine Sneed
  • Paris, He Said: A Novel
    Paris, He Said: A Novel
    by Christine Sneed

BLOG-O-RAMA (not to be confused with Illinois's disgraced governor)


Q & A with Shari Goldhagen, author of the new novel, In Some Other World, Maybe

Tell us a little about your new novel.

In December 1992, three groups of teenagers head to the theater to see the movie version of the famed Eons & Empires comic books. For Adam it's a last ditch effort to connect with something (actually, someone, the girl he's had a crush on for years) in his sleepy Florida town before he leaves for good. Passionate fan Sharon skips school in Cincinnati so she can fully appreciate the flick without interruption from her vapid almost-friends—a seemingly silly indiscretion with shocking consequences. And in suburban Chicago, Phoebe and Ollie simply want to have a nice first date and maybe fool around in the dark, if everyone they know could just stop getting in the way.

The book follows these characters over the next twenty years as their lives criss-cross and intersect.


How did you settle on the timeline that you've chosen, which spans quite a few years of the main characters' lives?  

I’ve always been really interested in how events from youth impact the rest of our lives. So I wanted to follow the characters until the events of the movie had a sort of logical conclusion. The re-release of the movie twenty years later, ends up connecting some of these characters in different ways, so it seemed like a logical place to end things.

It’s not a tied-with-a-bow ending for some of the characters, and personally at least, I’m really interested in finding out what happens to some of them afterward. But it seems like the place where Eons & Empires is done for these characters.

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Ibises Strolling the Sidewalks, Writers in Shorts and Shades: The Sanibel Island Writers Conference  


          This past November I fled my drafty condo and the moody grey skies of Chicago for picturesque Sanibel Island, a haven much-loved by vacationers and retirees.  The beaches there are known for their millions of pretty shells, and it’s also the place where you’ll find the renowned J.N. “Ding” Darling bird refuge.  For the past nine years, the island has also been the site of an excellent writers conference affiliated with Florida Gulf Coast University.  I was a member of this year’s fiction faculty, which also included novelists and short story writers Lynne Barrett, Emily Franklin, Steve Almond, David James Poissant, Julia Scheeres, Darin Strauss, George Singleton, Jeff Parker, and Tom Franklin.  (The conference faculty includes poets, editors, novelists, essayists, publishers, live-lit veterans, literary agents, and musicians.  This is the complete list: Steve AlmondMK Asante / Lynne Barrett / Derrick C. Brown / Kevin Clark / Dean Davis / John Dufresne / Beth Ann Fennelly / Emily Franklin / Tom Franklin / Artis Henderson / John Hoppenthaler / Gary Louris / Jen McClung / Karen Salyer McElmurray / Kathryn Miles / Dinty W. Moore / Jeff Newberry / Jeff Parker / David James Poissant / Julia Scheeres / Christopher Schelling / Jennifer Senior / George Singleton / Christine Sneed / Wesley Stace / JL Stermer / Megan Stielstra / Parker Stockman / Darin Strauss / Johnny Temple / Karen Tolchin). 

            Tom DeMarchi founded the conference and has been its director since its inception in 2006.  He and his wife Karen Tolchin (who also works hard to keep each conference running smoothly) are both members of FGCU’s English Department faculty and are two of the nicest people you could expect to meet anywhere.  Richard Russo was so charmed when he met Tom and Karen not long ago while they were on vacation in New England that he agreed to come down from Maine to give the conference keynote this year.  

            I have to think it is their kindness and sincere interest in all the students and faculty at the SIWC that make it such a popular conference, along with the accomplished faculty, many with bestselling books to their names. 

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Q & A with Monica McFawn, author of the story collection Bright Shards of Someplace Else

From the jacket copy: In the eleven kaleidoscopic stories that make up Bright Shards of Someplace Else, Monica McFawn traces the combustive, hilarious, and profound effects that occur when people misread the minds of others. The characters—an array of artists, scientists, songwriters, nannies, horse trainers, and poets—often try to pin down another’s point of view, only to find that their own worldview is far from fixed.

The characters in McFawn’s stories long for and fear the encroachment of others. A young boy reduces his nanny’s phone bill with a call, then convinces her he can solve her other problems. A man who works at a butterfly-release business becomes dangerously obsessed with solving a famous mathematical proof. A poetry professor finds himself entangled in the investigation of a murdered student. In the final story, an aging lyricist reconnects with a renowned singer to write an album in the Appalachian Mountains, only to be interrupted by the appearance of his drug-addicted son and a mythical story of recovery.

By turns exuberant and philosophically adroit, Bright Shards of Someplace Else reminds us of both the limits of empathy and its absolute necessity. Our misreadings of others may be unavoidable, but they themselves can be things of beauty, charm, and connection.

1. There's a lot of erudition in these stories - you have characters who know quite a bit about mathematics and police procedurals and horses, for example.  Are these subjects related to work you've done in the past (or are doing currently)?  

The subjects in the book range from things I know very well to subjects I knew almost nothing about when I began researching..  I’m an equestrian (and have owned horses for over twenty years) so I know a lot about horses, but math is another story.  I’ve never been a strong math student, and my math education ended in high school.  But I became interested in proofs and high-level math after watching a play, “Fermat’s Last Tango,” which was based on a true story about Andrew Wiles, a British mathematician who solved Fermat’s theorem.   The play made math, which previously seemed to me to be the driest of subjects, seem intoxicating in its high abstraction.

This appealed to me, and reminded of a brief period when I become really interested in philosophy.  I was reading things like Wittgenstein’s Notes on Color and Kierkegaard’s Either/Or.  I’d read these texts, and hardly anything would make sense to me.  But here and there, I’d feel a flicker of understanding, and it was as if this whole latticework of the world’s logic was being shown to me.  Then the clarity would recede, the words would seem like gibberish once more. 

I imagine that this is what it might feel like to be a mathematician, struggling to find connections and formulas that explain how the world works.  I see it as being a kind of artist—searching for this high, clear ideal—but an artist that is looking for something far more specific than anything a writer or artist would seek.  I liked the idea of exploring a character, like Aaron (the mathematician in my story) who has discovered a difficult proof--that private moment of exultation and disbelief before he shares what he knows with the world.

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Q & A with Jim Elledge, Author of Henry Darger, Throwaway Boy: The Tragic Life of an Outsider Artist

A summary from the jacket copy: “Utterly unknown during his lifetime, Henry Darger led a quiet, secluded existence as a janitor on Chicago's North Side. When he died, his landlord discovered a treasure trove of more than three hundred canvases and more than 30,000 manuscript pages depicting a rich, shocking fantasy world—many featuring hermaphroditic children being eviscerated, crucified, and strangled.

“While some art historians tend to dismiss Darger as possibly psychotic, Jim Elledge cuts through the cloud of controversy and rediscovers Darger as a damaged and fearful gay man, raised in a world unaware of the consequences of child abuse or gay shame. This thoughtful, sympathetic biography tells the true story of a tragically misunderstood artist. Drawn from fascinating histories of the vice-ridden districts of 1900s Chicago, tens of thousands of pages of primary source material, and Elledge's own work in queer history, Henry Darger, Throwaway Boy also features a full-color reproduction of a never-before-seen canvas from a private gallery in New York, as well as a previously undiscovered photograph of Darger with his lifelong companion William Schloeder, or "Whillie" as Henry affectionately referred to him.”

What initially interested you in Darger's story? 

I went to an exhibit of Darger’s paintings in April 2002 and was captivated by an image that appears over and over in his work: the “little girl with a penis,” as it’s been called. Sometimes Darger placed the figure in an Edenic setting, but often the figure is being tortured—strangled, eviscerated, crucified—by male adults in a forest or a battlefield. The figure of the tortured child had caused writers before me to believe that Darger was a sadist, serial killer, and/or pedophile. I don’t know why they came to that conclusion, but I didn’t buy it for a second, and I set out to discover what the figure actually meant.

How did you go about gathering information and organizing the narrative in a coherent manner? (It's so narratively adept and reads like a novel).  

My research took ten years, mostly in the Darger Archive at the Museum for American Folk Art in Manhattan, the University of Chicago’s special collections, and the archives of the Chicago History Museum. The last couple of years of that decade I spent writing the book, but I was doing research right up to the moment I sent the manuscript to my editor. I became pretty much a Google expert during that period, too. Luckily, I’m very organized, and so, with the help of my trusty laptop, keeping track of medical articles from the 1800s and census records from the 1920s, for example, was relatively easy. For the narrative, I just followed the chronology of Darger’s life, a very typical structure for a biography, except for the opening chapter. I wanted to open the book with the most important event in Darger’s life, and that, I believe, was the day his father and a local doctor filled out an application that allowed them to send Darger, a twelve-year-old, to the Illinois Asylum for Feeble-Minded Children. In those days—this would have been in 1904—children could be confined in an institution for being truant, for talking back to parents, and in Darger’s case, for masturbating. Darger wasn’t even there when his father signed the application and changed his son’s life irrevocably.


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Q & A with Louise Aronson, author of the story collection A History of the Present Illness

1. Tell us a little about your book.

With A History of the Present Illness I wanted to take readers into the real lives of real and often overlooked people - all of whom might be described as either patients as doctors, among many otherm mostly more important characteristics - in the hugely varied neighborhoods, hospitals, and nursing homes of San Francisco. Among the stories are: the elderly Chinese immigrant who must sacrifice his demented wife's well–being to his Americanized son's authority, the busy Latina physician whose eldest daughter's need for more attention has disastrous consequences, the psychiatrist who advocates for the underserved but may herself be crazy, the gay doctor who learns very different lessons about family from his life and his work, and the young veteran whose injuries become a metaphor for the rest of his life. I wanted to show the humanity of many different sorts of people, to be honest about life and medicine, to make people laugh and cry. I also wanted to explore the role of stories in medicine and offer a portrait of health and illness in American today that was different from what was already out there, and completely honest.

2. You write with extraordinary sympathy about so many different people  - the elderly and the very young, immigrant families from all over the world, young medical students, experienced physicians.  I'm guessing that as a practicing MD, you have treated people who might or might not resemble your characters.  How do you immerse yourself in these different perspectives and voices? 

I write about all the different sorts of people I have met as a medical student, resident and practicing doctor, though my characters are never representations of those people. The characters often start because of a real person or event but then they take on a life of their own informed by all the other people I’ve met and by what’s going on in the story. It is a total privilege to have had such intimate access to so many different people’s lives; it’s one of the most incredible and wonderful things about being a doctor, at least for me. I wanted to capture that and use it to tell true stories through fiction.

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