Patricia Lockwood joins Amy to talk about her hilarious and touching memoir, PRIESTDADDY. They cover jewel-hoarding, mysterious household rags, and dad-habits.
Editors get very passionate about books they work on – the Editor’s Desk series is his or her place to write in-depth about what makes a certain title special. Get the real inside-scoop on how books are shaped by the people who know them best. Last fall, we celebrated New York Times and internationally bestselling author of the Inspector Montalbano mystery series Andrea Camilleri’s 90th birthday with the publication of A Beam of Light. This year we’ve hit another incredible milestone—A Voice in the Night is the twentieth novel in his Montalbano series. Having the opportunity to work on a beloved cult classic like the Montalbano series is truly a privilege. The novels sensuously capture the sense of Sicily, from the sun-soaked buildings and seaside views, the simmering food on Montalbano’s plate, to the do-as-you-please attitudes of its inhabitants. The books are translated from Italian, and Stephen Sartarelli’s skill as a translator is on ample display in the ease and rhythm of the quick-witted and wryly humorous dialogue. In reading the first draft, I found it fascinating to consider the nuances of translating from the Italian, as Camilleri often employs several Sicilian dialects within a single novel. I do wonder what cultural idiosyncrasies are lost in translation, but am always pleased that the humor and warmth translate fully. A Voice in the Night brings us back to the Sicilian town Vigàta, where Montalbano’s moody demeanor has taken a dive as another birthday rolls around. To cheer himself up, he deals with a young driver’s road rage in his own way, and surprisingly, finds himself confronting the young man once again, this time as the suspect of a gruesome murder. Many of the series’ trademarks make a welcome appearance in A Voice in the Night—lighthearted spats and make-ups with Livia, Catarella’s mispronunciations as unintentional linguistic jokes, the seemingly omnipresent influence of the mob in both the streets and halls of government. And of course, there is the food. (A particularly memorable scene casts a two-foot octopus as murderous foe before vengeful food dish.) Camilleri’s charming creation, Inspector Montalbano, continues to delight and surprise me. Flawed but lovable, the Sicilian Inspector is great company, and it’s with a lot of enthusiasm that we get to share this series with English speaking readers. A Voice in the Night won’t disappoint longtime fans of the books, but it’s also a good jumping-off point for new readers to acquaint themselves with Montalbano’s Sicily. Luckily for me, and for you, dear reader, this isn’t Montalbano’s last case.
Editors get very passionate about books they work on – the Editor’s Desk series is his or her place to write in-depth about what makes a certain title special. Get the real inside-scoop on how books are shaped by the people who know them best. Among the victims of the terrorist attacks in Paris last November 13 was a young mother named Hélène Muyal-Leiris. That night, she went to the Bataclan concert hall, while her husband, Antoine Leiris, stayed at home, looking after their 17-month old son, Melvil. Three days after the attacks, Antoine wrote an open letter addressed directly to the terrorists who had murdered his wife, which he published on Facebook. You may have read it at the time. It was titled “You Will Not Have My Hate” and within days had been shared millions of times and reported on across the world. “Victim’s Husband Tells Terrorists, ‘I Will Not Give You the Gift of Hate’,” read the headline in the New York Times. Afterwards, Antoine continued to write about caring for his son alone and burying Hélène. His account of the days and weeks following the attack was soon published in France as book with the same title, You Will Not Have My Hate. When I was sent the manuscript by the French publisher, I read it with tears in my eyes, and more than once, as I worked with the translator, Sam Taylor, I felt overcome by Antoine’s bravery and kindness. His words of grief are startlingly simple and direct, which made the translation process quite straightforward. There were only a handful of instances where Sam and I had some uncertainties about the best phrasing in English (and every time Sam found the ideal solution). Like his letter, Antoine’s book has received passionate gratitude the world over. It will be published in 24 languages and is already a bestseller in multiple countries. This success is because the book is extraordinary, full of heartbreak and sorrow, but also love and hope. It is inspiring. Antoine describes one of the letters he received after he published his open letter, in which a stranger wrote to him, “You are the one who was hurt, and yet it is you who give us courage.” I think there’s a tendency to consider something that has been published as a book as completed, as the past. But it has been less than a year since the attacks in Paris. For those of us who weren’t directly affected, the events have perhaps already been displaced in our memories, pushed to one side as horror has struck again and again. In Orlando, San Bernardino, Nice, Baghdad, and elsewhere. It can seem like we barely have time to mourn one attack before another happens. But You Will Not Have My Hate reminds us sharply of the inconceivable pain of such tragedies. It is both a private story and a universal one. Both a love letter and farewell. To read it is to grieve for a stranger with all one’s heart.
Tara Clancy, author of THE CLANCYS OF QUEENS, joins Amy to talk Brooklyn, Shakespeare, The Moth, and how writing a memoir with your name at the bottom is a spoiler in and of itself.
Editors get very passionate about books they work on – the Editor’s Desk series is his or her place to write in-depth about what makes a certain title special. Get the real inside-scoop on how books are shaped by the people who know them best. As Nadja Spiegelman describes early in her wonderful memoir, I’m Supposed to Protect You from All This, the book grew out of a series of conversations with her mother, Françoise Mouly. Throughout Nadja’s childhood, Françoise had steadfastly deflected questions about her past with “I’ll tell you when you’re older.” She kept her word. When Nadja emerged into adulthood, Françoise told her everything she could remember, not sparing herself the difficult emotions the recounting called up. Nadja would eventually cross the Atlantic to continue the conversation in France with her grandmother, adding Josée’s story and that of Josée’s mother to her ballooning research. For me, however, the book began in a different place, when Nadja was trying to wrestle a narrative out of this overwhelming, overlapping, contradictory array of stories – not to mention each figure’s conflicting interpretations and complicated responses. On her visits to New York, we’d meet for lunch, always somewhere quiet and with a large table, my apartment or the Korean place near my office, so that she could lay out her annotated transcripts and notes and the fantastically detailed storyboards she had assembled. At moments like these, editors can feel a little like the Wizard of Oz, struggling to muster godlike pronouncements from behind a threadbare curtain of authority. I confess I wondered at moments if we were both lost. But as Nadja began to send me draft chapters, working her way through the material, it became clear to me that my author, young and wide-eyed as she was, had incredibly well-developed impulses as a writer. She knew where she was going, and she returned to the material, draft after draft, until she got it there. Like many writers, Nadja is a creature of the night, but she took that to extremes. Sometimes when we’d Skype, well into the evening for me – editors tend to be creatures of the night too, at least when it comes to editing – she’d still be up, working, when dawn was already breaking in Paris. Sometimes we continued our conversations the next morning, though at her age, the punishing hours she was keeping did not show. But they paid off. Gradually a gorgeous, intricate narrative emerged, one that mimicked the layering and warping of memory, to powerful effect. I have daughters of my own, a decade younger than Nadja – more or less the age Nadja was when her mother first told her her story. I came to the book not only as editor but as mother and daughter. I wondered about all the things I had never asked my mother about her past, or her mother’s. I was in awe of Francoise’s courage in revealing everything, and doubted that I would have the same. The book made me appreciate that we do not understand any adult until we see him or her as someone’s child. I loved getting to be part of its coming into the world. Listen to an interview with Nadja on the Beaks and Geeks podcast:
Nadja Spiegelman joins Amy to talk about painful family history, becoming closer to her mother and grandmother, living in Paris, and much more. Learn about the book here:
Jensen Karp, comedy writer and author of KANYE WEST OWES ME $300, talks with Lindsay about being a young rapper with a million dollar record deal and his poignant friendship with the infamous Kanye West. Learn about the book here:
Faith Salie, author of APPROVAL JUNKIE, joins Amy to talk about childbirth, literature as legacy, and really listening to someone. Learn about the book here:
George Hodgman’s bestselling memoir Bettyville is being developed into a dramedy series by Paramount Television. Oscar winner Shirley MacLaine and Tony winner Matthew Broderick are attached to star, it was reported by Deadline Hollywood. The adaptation is being written by John Hoffman (Looking, Grace and Frankie), who will serve as executive producer and showrunner on the potential series. Hodgman will also executive produce, alongside Archer Gray’s Anne Carey and Amy Nauiokas (The Diary of a Teenage Girl). The project is currently being shopped to networks. Bettyville follows George Hodgman (Broderick) after he leaves Manhattan for his hometown of Paris, Missouri to care for his aging mother Betty (MacLaine). He expects to be away for only a few weeks, but life conspires to keep him there, armed with not much more than a (mostly) willing heart, a broken past to sort out, and two irascible personalities: his own, and Betty’s. The funny and heartbreaking memoir chronicles the mother-son journey, capturing truths about family, identity, and our current American landscape. Learn about the book here.