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Water For Wednesdays

Even though the movie isn’t set to release until April 15 (which is still 256 days away), fans of Water for Elephants (and Robert Pattinson) cannot wait to see this movie! Filming has wrapped and photos from the set have slowed to a trickle, but stay strong WFE fans! Twitter user Oh_Logan created this fabulous fan-made-trailer*.
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*Note: This isn’t the official trailer–and it doesn’t contain any official footage–but it’s an exciting peek into the movie regardless!

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Elisabeth Tova Bailey, author of The Sound of a Wild Snail Eating (an office favorite), spoke with NPR “Weekend Edition Saturday” host Scott Simon about her illness, her ongoing recovery, and the benefits of slowing down to a “snail’s pace.” You can listen to the interview here and read an excerpt from The Sound of a Wild Snail Eating here.

Craig Popelars, Algonquin’s Marketing Director,
writes about a magical trip to the land of Miami.

_______________________________________





STOP, collaborate, and listen,
Algonquin’s in Miami with a frontlist edition.
Our fiction grabs a hold of you tightly,
at Books & Books they sell us daily and nightly.


OK, sorry about that, but for a moment I was channeling Vanilla Ice. It happens, especially when you spend a little time in Miami as I recently did for “Algonquin Night” at the esteemed Books & Books. For a second year in a row, the store hosted me for an event where I showcased Algonquin’s recent and forthcoming works to the legion of Books & Books’ fervent customers. Highlighting the event was Brock Clarke, who shared a candid and entertaining presentation on the writing and reasoning behind An Arsonist’s Guide to Writers’ Homes in New England and his forthcoming opus, Exley. The audience, which included famed humor columnist Dave Barry (but did not include LeBron James), seemed genuinely entertained and engaged, but that’s probably due in large part to the wine tasting that prefaced the event, thanks to Robin and Alexis, the brains behind The Wine Trials. Yup, it always helps to get the audience lubed-up on alcohol before presenting them books on talking dogs and frozen rabbis.

Most of the event’s success can be attributed to Debra Linn, Books & Books’ talented go-to marketing girl, and ringleader of the Miami book club, Page Against the Machine. Debra did a great job with orchestrating and promoting the event, but special Algonquin shout-outs go to Books & Books owner Mitchell Kaplan, who isone of the best souls period; Christina Nosti, who made sure that Brock and I enjoyed “really good” Cuban food; and wordsmith/buyer Aaron Curtis, who vehemently insisted that I pay the bar tab at the end of the night.

It’s not the beaches, the nightlife, the food, the culture, the sports, or Vanilla Ice that make Miami special. Miami’s on the scene in case you didn’t know it, because of the talented booksellers of Books & Books and their incredible customers.

Word to your mother.

-Craig

From left to right, Craig Popelars, Books & Books owner Mitchell Kaplan, Exley author Brock Clarke and Dave Barry

Mitchell Kaplan, Brock Clarke, The Wine Trials authors Robin Goldstein and Alexis Herschkowitsch and Craig Popelars

Brock Clarke and a Books & Books customer discuss Clarke's first novel, An Arsonist's Guide to Writers' Homes in New England

Brock Clarke, right, discusses his new novel Exley

Yesterday we featured an excerpt from Elisabeth Tova Bailey’s exquisite memoir The Sound of a Wild Snail Eating. Today we have an interview with the snail aficionado herself. The book is about her observations of a snail that takes up residence on her nightstand when she has an illness that keeps her bedridden. She discovers the solace and sense of wonder that this mysterious creature brings and comes to a greater understanding of her own confined place in the world.

Bailey's terrarium (photo by Deborah Smith)

Q. The Sound of a Wild Snail Eating is part memoir, part natural history and it details your relationship with a snail over the period of a year. What led you to write this book?

A. I wrote down some of my snail observations and a friend was so intrigued that she suggested I turn them into an essay. The essay seemed to really delight readers. After some years had passed, I wondered if there could be a book, but I wasn’t sure there was more to write. I began to read scientific gastropod literature, fell in love with it, and found there was quite a bit more to say. I wrote the book partly because I felt I owed the snail a biographical thank you and partly because I felt the story would be of help to other people going through a rough time.

Q. The setting for your book is the geographically and emotionally isolated space of your bedroom. How did you survive that situation?

A. The isolation and limits of illness can be very tough, sometimes even tougher than illness itself. I do not know how I, or anyone, survives such situations. The snail was very critical in getting me through a hard time. I think each of us, in surviving any difficult life challenge, have to find a way to stay connected to the world as that connection is what sustains us.

Q. At what point did watching the snail transition from the boredom of being bedridden to genuine interest?

A. When I first started to watch the snail, simply because it was there and moving around, I did not expect it to do anything of interest at all. It was when I became aware that the snail had habits, just like me, that I became intrigued. Like me, it woke up and went to bed. Like me it wanted something delicious for dinner. It turned out to have interesting small-sized adventures, as did I. That we were cohabitating and living our life patterns in parallel created a sense of kinship and sparked my curiosity.

Q. Your descriptions of the snail’s life are so detailed and interesting that the snail becomes an actual character in the book, a key presence in your life. Did you know when you started writing the book that the snail would become a main character?

A. I knew that I would write as much as possible about the snail as I never wanted to write about myself. However, when two friends read an early draft, I was surprised by their reactions as one wanted more description of the snail and the other wanted more information about me. It was only then that I realized that I had two main characters. This seemed like a problem and it worried me for awhile, but as the book developed, I started to realize that I was sort of “channeling” the snail. While I was the initial main character it is through my experience that the reader experiences the same connection to the snail that I did, and in this way the snail’s character becomes the larger and more central presence in the book.

Q. Most people wouldn’t think that a snail could be very interesting. Yet you became fascinated by the life of your tiny companion. What are some of the surprising things you learned about your snail?

A. Every creature on earth, when examined closely, leads a fascinating and full life. In some respects the lives of the smaller and short-lived creatures are even more intense, more crammed with plot, than our longer human lives. There are so many interesting snail traits that it’s hard to choose which to mention. I was in awe of my snail’s strength as well as its ability to exist in space at any angle, even upside down. My snail could go dormant whenever circumstances were not in its favor, which is an incredibly useful trait. Snails are also famous for spending many hours in courtship.

Q. How did your relationship with the snail help you survive a difficult year?

A. My snail was at my side 24/7 and just to have that kind of contact with another life was critical as I was so cut off from my usual life. While I couldn’t do the things I wanted to do, I could, by watching the snail, enter into its microcosmic world, and so in that way, I was still able to participate in life. It was also helpful to see an example of a small creature adapt and persevere outside of its usual environment, as living with chronic illness involves adapting to changed circumstances and persevering.

Q. Your book is about your isolation due to illness and how your situation parallels the hermit-like life of a snail, yet it highlights a remarkable interspecies relationship between a snail and a human. How did you write simultaneously about such opposites – isolation and connection?

A. Illness can limit one from participating in normal activities and even from socializing. So I wrote about that isolation and what it was like to observe my healthy visitors as they came and went. In contrast, the snail was constantly at my side, and so a very crucial interspecies bond developed. It was the diminished connection to my own world, due to illness, that allowed my increased connection to the snail’s world—a world that was more on a par with my reduced functioning level. I tend to think anyone in my situation would also have bonded with a snail.

Q. Why would a book about an interspecies relationship with a snail be of interest to the average reader?

A. Ultimately, I think the book speaks to the universal experience of being alive. All humans understand isolation on some level, even within a family, a marriage or partnership, or a friendship; one can sometimes still feel isolated. Likewise, everyone has had the flu and knows what it is like to be laid low, at least temporarily. While the benefits of an interspecies relationship with common pets is well known, people are always intrigued to read about a relationship with a creature they don’t know well.

Today’s bonanza: Amy Hempel’s COLLECTED STORIES; Wells Towers’s EVERYTHING RAVAGED, EVERYTHING BURNED; the 25th anniversary edition of NEW STORIES FROM THE SOUTH; and three Algonquin titles of your choosing. Just leave a comment on our Facebook page to enter; or, if you’re not on Facebook, here on our blog.

Today is our final post for this week’s series celebrating NEW STORIES FROM THE SOUTH. If you’re in the Raleigh, North Carolina area, or if you’re even somewhat nearby, please head over to Quail Ridge Books to hear series editor Kathy Pories and contributors Wells Tower and Aaron Gwyn read from/discuss the book on MONDAY, AUGUST 30th, at 7:30 pm. The event is free and sure to be absolutely fantastic. We will be there–will you???

Today’s interview is with founding series editor Shannon Ravenel, who shares with us, among other things, her favorite stories from the first twenty years of NEW STORIES FROM THE SOUTH. Have any favorite Southern stories of your own?

1. Where do you do your best editing? At home? At work? At a coffee shop?

Since I’m now more or less retired and working as “editor at large,” I do all my editing at home, which I like.

2. What does a Southern story mean to you?

I wrote some Forewords to the early volumes of New Stories from the South trying to define “Southern Stories.” For me, it boils down to the setting—if the story is set in the U.S. South, it’s “Southern.”

3. You were the series editor for New Stories from the South for twenty years. Were there any major surprises along the way? Any particular stories that stand out as your favorites?

I started the series in 1986 and edited it (without guest editors) until 2005—so my stint was 20 years. For the first five of those, I was also Series Editor of Best American Short Stories for Houghton.

Stand out stories:  Lewis Nordan’s “Sugar, the Eunuchs and Big G.B.” (1987), Larry Brown’s “Facing the Music” (1988), Robert Olen Butler’s “Relic” (1991), Heather Sellers’s “Fla. Boys” (1999), William Gay’s “The Paper Hanger” (2001)

4. What’s the last non-work-related book you read that stopped you in your tracks?

Olive Kitteridge, by Elizabeth Strout

5. What’s the last book you loaned out that you regret giving away?

In Richard’s World, by William Barnwell (HMCo. 1968)

6. On what basis did you choose stories to include in the anthology?

As for technical aspects, only two: That the story is set mainly in the American South, and that it was published first serially in the year preceding our annual volume. As for the rest of my criteria: Would it be too evasive to say simply that the stories I selected were the ones I wanted to read again, for my own enjoyment?

7. What does the South mean to you?

Home

8. What is your favorite place in the South?

Camden, South Carolina

9. More importantly, please describe your favorite meal in the South.

Hoppin’ John and Ham on New Year’s Day

10. In her introduction as guest editor to New Stories from the South: 2010, Amy Hempel writes, “Much of what I read from the contemporary South has a soundtrack.” As a North Carolinian resident, what is your current Southern soundtrack?

I’m one of those very rare Southerners who is, as Lee Smith once put it, musically impaired. I listen to whatever my husband listens to, which is mostly bluegrass. But I could live without it.

*Bonus question: You are stranded on a desert island with any celebrity, living only. Who would you choose?

Barack Obama

Interview by
Megan Fishmann,
Publicist

We’re huge Amy Hempel fans at Algonquin, so we’re especially thrilled that she’s the guest editor of this year’s 25th anniversary edition of NEW STORIES FROM THE SOUTH. To celebrate, today we’re giving away a copy of her COLLECTED STORIES along with a copy of our anthology–two great tastes that go great together. To enter, just leave a comment on our Facebook page or, if you’re not on Facebook, here on our blog.

Hempel took a few minutes while at Bread Loaf to talk to us about loaning out books, her favorite Southern authors, and falling in love with New Orleans all over again.

1. Can you describe the selection process as guest editor of New Stories from the South: 2010? How many stories were originally submitted to you before you narrowed it down to twenty five? Was it a difficult process?

I don’t know the final count for the number of stories that Kathy Pories and I read, but I know that in addition to those sent in by the magazines and journals, we asked for stories, and checked to be sure that certain writers we admire greatly had not, in fact, published stories in 2009. I would have hated to miss a story by William Gay, for example, so we checked and found that he has been working on a novel. That happened several times.

Was it a difficult selection process? I didn’t feel it was hard; in most cases I knew immediately, and Kathy and I were closely aligned in our sense of the best stories.

2. Do you reread a story of your own once it’s in print? If so, what is your reaction upon reading it?

When a story of mine is published, I quickly scan it looking for typos, then don’t read it again unless I am giving a reading and want to include it.

3. How many revisions on average does it take until you feel a story of yours is complete? Do you apply the same amount of revisions to a story when guest-editing someone’s piece?

There is no typical revision process for me—the number varies with each story. Also, I did not change the stories we selected for this volume. I selected them, but did not edit them.

4. What’s the last book you loaned out that you regret giving away? Or, can you share with us the best book ever given to you as a gift and the story behind it?

I don’t loan someone a book unless I’ll be okay with never seeing it again. The best book I was given—most recently that would be the galley of Mark Richard’s memoir that comes out in February: House Of Prayer No. 2.

5. What is your favorite memory of the South?

There is no single favorite memory; there are MANY that come back and back to me. The times I visited Oxford, MS, in the ’80s and spent time with Barry Hannah—those are at the top. Also spending time with Rick Barthelme and Rie Fortenberry et al. in Hattiesburg, and a recent week in New Orleans, falling in love with that city all over again…

6. Do you have any favorite contemporary Southern writers?

Some of my favorites that are not in the anthology: Mark Richard, Rick Barthelme, Allan Gurganus, Jill McCorkle, Betsy Cox, Barry Hannah, Ellen Collett.

7. In your introduction as guest editor to New Stories from the South: 2010, you wrote, “Much of what I read from the contemporary South has a soundtrack.” As a Chicago-born writer currently residing in New York City, what are your top five ‘Southern’ soundtrack songs?

In addition to the ones I mention in my Introduction, I’d need my CD collection in front of me. But I’m writing from a writers’ conference in Vermont. There’s a Jimmy Reed recording on Verve that I’ll never get tired of, and a lot of the old STAX singles.

Interview by
Megan Fishmann,
Publicist

Today we’ll be giving away a copy of Wells Towers’ Everything Ravaged, Everything Burned along with a copy of New Stories from the South, 2010. To enter, leave a comment here or on our Facebook page.

Herewith, Tower chats with us about final edits, the best piece of writing advice he ever received, and moose suicide. Enjoy!

1. We don’t really hear about Northwestern writing or Southwestern writing. Why do you think Southern writing is such a distinctive regional category?

Well, there’s probably some truth to the old bromides about the Southern oral tradition, a heritage of porch talk, that sort of thing. I do think Southern people find a particular pleasure with words, and perhaps more than in other regions, that there’s maybe a bit more play and bleed, fewer boundaries, between the way between working- and high class vernaculars, which means lots of rich, distinctive life in the language. Though there are all sorts of Southern traditions out there, a particular sort of word-glee seems to be a common bit of DNA.

2. How many stories do you send out to literary magazines? Can you describe your personal process of selecting stories for specific magazines to send off for possible publication?

Lately, I haven’t been doing much sending out. These days, it’s more that I’ve got relationships with a few editors I like and trust, which has diminished my purchases of manila envelopes.

3. Do you reread your story once it’s in print? If so, what is your reaction upon reading it?

Oh, no, never. Couldn’t bear to. I know I’d see things I’d want to change.

4. How many revisions on average does it take until you feel a story’s complete? Can you go into, specifically, your experience with “Retreat” and its appearance in New Stories from the South, 2010? Do you feel this story is finished, or perhaps there’s even more to the two brothers and their relationship to each other?

Usually it’s three or four big revisions before first publication, and then for most of my stories, I did three or four more biggies before I included them in my book. With these brothers, I am, thank god, finished.

My only real regret [about “Retreat”, Towers’ story that has been published three times now, with major edits each time] is that I wasn’t able to slip in another fine piece of moose lore I picked up in Alaska. One day, as I was getting ready to push off on a kayak trip across a big cold lake on the Kenai Peninsula, a park ranger came over and told me to beware of swimming moose. It was rut season, when the bulls go crazy. They’ll put a hoof through your boat in a second, the ranger told me, just for the fun of it. But the really interesting thing he said was that when he’s in rut, a bull moose standing on one side of the lake might suddenly get a very strong hunch that a cow moose is waiting for him on the far side of the lake, which might be as much as two or three miles away (these are big lakes). Off he’ll swim. But when he’s just about gotten to the distant shore, he’ll take a contrary notion that actually, all the ladies are probably on the shore he just swam from. So he does an about-face and paddles back the way he came. Just as the moose is finally reaching terra firma, he doubts himself, and again with the U-turn. A lot of moose, the ranger said, killed themselves this way.

As I was revising and revising this story and others, I thought often about those uncertain, waterlogged creatures. As much as I believe in the radical rewrite, I hope that someday I’ll get better at picking a single course and sticking with it. The pond is always bigger than it looks.

5. What’s the last book you loaned out that you regret giving away?

Why Did I Ever, by Mary Robison.

6. What is the best piece of writing advice that has ever been given to you?

Get in and get out.” The late Barry Hannah on the short story.

7 What is your favorite personal memory of the South?

Brown ponds in summer, the cool layer you had to swim hard to get down to.

8. Do you have any favorite contemporary Southern writers?

Allan Gurganus, Charles Portis, Padgett Powell, Mark Richard, Mary Robison, Karen Russell.

9. In her introduction as guest editor to New Stories from the South, 2010, Amy Hempel writes, “Much of what I read from the contemporary South has a soundtrack.” As a North Carolinian resident, what is your current Southern soundtrack?

Bullfrogs, crickets, dogs. If I had to pick music, Vic Chesnutt’s “West of Rome” and “Is the Actor Happy?”

10. * And the bonus q: You are stranded on a desert island with any celebrity, living only. Who would you choose?

I would drown myself rather than be stranded on a desert island with a celebrity.

Interview by
Megan Fishmann,
Publicist

On August 17, Algonquin will publish its 25th volume of New Stories from the South, guest edited this year by short story master Amy Hempel. Hempel has selected 25 stories by 24 authors (yes, one author, Brad Watson, has two phenomenal stories in the collection) for this deluxe anniversary edition. Keep your eye on the Algonquin Blog this week for giveaways, as well as interviews with Kathy Pories, Series Editor; Wells Tower, contributor; Amy Hempel; and Shannon Ravenel, founding Series Editor.

The complete list of authors featured in New Stories from the South, 2010:

Wells Tower
Dorothy Allison
Kevin Wilson
Padgett Powell
Wendell Berry
Elizabeth Spencer
Ron Rash
Rick Bass
Brad Watson
Bret Anthony Johnston
Danielle Evans
Tim Gautreaux

Ashleigh Pedersen
Adam Atlas
Megan Mayhew Bergman
George Singleton
Ben Stroud
Ann Pancake
Aaron Gwyn
Emily Quinlan
Stephen Marion
Kenneth Calhoun
Marjorie Kemper
Laura Lee Smith

To kick off the week, read “Small and Heavy World” by Ashleigh Pedersen. Remember her name–she’s a rising star.

What begins as a fantastical story of a small Southern town’s populace living in trees after a devastating flood becomes a serious and sensitive portrayal of a strained marriage told through the eyes of thirteen-year-old Rayanne. Pedersen’s gorgeous style twists from jarring to quirky, from sweet to grotesque, all the while drawing you into her world and making you care for all her characters. Enjoy! –Ana (Publishing Coordinator)

Small and Heavy World

By Ashleigh Pedersen
Excerpt from New Stories from the South 2010

ABOUT THE AUTHOR

Ashleigh Pedersen recently earned her MFA from University of Pittsburgh. She currently lives in Austin, TX, where she writes, works, swims, and soaks up all the outstanding dive bar honky tonk.

THE SUBURBS–the new album from ARCADE FIRE, the Montreal-based, indie-rock sensation–has landed at #1 on Billboard’s Album Chart, beating out Eminem’s “Recovery” and Lady Gaga’s “The Fame.” Total copies sold in the first week? 156,000!

As we posted earlier this week, Merge Records is the phenomenal indie label that has recorded all three of Arcade Fire’s albums. You can catch tons of cool stories (and see tons of rare photos) about Arcade Fire and other Merge bands–including faves Spoon, Magnetic Fields, Superchunk, and Lambchop–in Our Noise: The Story of Merge Records, the Indie Label That Got Big and Stayed Small.

If you’re a music fan, you NEED this book. Seriously.

Want to try to score a free copy? Check out our Facebook page and our Twitter stream, where we’ll be giving away a few copies in the near future.

Christinne Muschi for The New York Times

Arcade Fire, the indie-rock band that surprised everyone with its meteoric rise, releases its third CD, “The Suburbs,” today. The album is already receiving amazing reviews and attention, like this New York Times feature from this past weekend: “[Their songs] mingle the punky and the symphonic, the cryptic and the heart-on-sleeve, the self-doubting and the anthemic, often with surging crescendos that make the tunes optimistic despite themselves. It’s both a stomping rock band and a mini-orchestra.”

For rare photographs and the behind-the-scenes story of the band, including how they started and came to the indie record label Merge Records (and why they, along with Spoon and others, stayed), check out Algonquin’s fantastic, photo-heavy book Our Noise: The Indie Label That Got Big and Stayed Small.

You can get a sneak preview of the album on NPR here or catch them LIVE.

On August 5th their performance with Spoon at Madison Square Garden will be streamed live on YouTube–directed by Terry Gilliam! Be sure to tune in here at 10:00pm Eastern Standard Time.

-Kathy (Kathy Pories is a Senior Editor at Algonquin)