Y.S. Lee's Blog, page 9
July 14, 2015
Hello, friends. Every spring, I feel like it’s been a long, hard winter. (To be fair, I live in Ontario.) Every spring, I worry that the plants are behind. And every June, things kick into high gear. I really should stop worrying.
Here’s a bowl of garlic scapes I snipped the other day. I added some basil leaves and toasted almonds and turned it into a massive batch of pesto. I love digging little tubs of summer from the freezer in November.
Here’s our kale, before I made the mother of all kale salads. We have 3 varieties this year: curly, Red Russian, and Tuscan.
We have a very generous neighbour who periodically pops round and says things like, “Could you use a very healthy zucchini plant?” Yes, we can. We always can. Thank you, Bob!
Our raspberries are doing well, too, despite the lemon balm that’s competing for space in that patch. Our children tend to bolt out the door first thing each morning, stake out the raspberry patch, and come back only when it’s picked over. One day I, too, will eat raspberries from our patch.
We’ve harvested the first round of our snowpeas, but as you can see, the scarlet runner beans are just starting to blossom now.
And we have high hopes for tomatoes. Again, our children graze most of the ripe cherry tomatoes right from the vine, but last year we had enough full-sized tomatoes to last us through the winter. We’re hoping for a repeat.
And that’s our garden at the moment. How is July treating you? What are you up to?
July 7, 2015
Hello, friends. One morning last week, as I was still waking up, I had a moment of immense clarity about my work-in-progress: its shape is wrong. I need to restructure the first third of the novel.
As I’m less than halfway through a first draft, I did not welcome this insight. Indeed, I spent a couple of days squinting at the corpus-thus-far-assembled, giving it a poke here and a jab there, as though testing the monster’s reflexes. Still, I think my half-waking vision was accurate. Since then, I’ve made a pile of notes and shuffled some ideas. I can keep some of the sections already written, while others need to be excised. About half of it needs to be rewritten.
Happily, some of the changes I’m going to make mean that I also need to revisit one of my favourite books: Freddy Spencer Chapman’s The Jungle is Neutral. I’m SO EXCITED to spend more time with my historical boyfriend! (If you’re wondering who on earth Freddy Spencer Chapman is, I’ve blogged about him over at the History Girls.) I’m reading partly to re-ground myself, and also for a detailed timeline. For example, here’s a map that includes some of his journeys in the month of January 1941:
(Pedant alert: Freddy didn’t travel to Telok Anson that month. That leg of the journey is included for SECRET WRITERLY PURPOSES.)
But as much fun as I’m having plotting and mapping, the most thrilling part of re-reading The Jungle is Neutral is how much better I’m able to appreciate it. Freddy is as breathtakingly adventurous as ever, of course. But after two years’ research into wartime Malaya, I’m familiar with all the main players. I know the geography and natural landscape. I have a firm grasp on the politics. And I bring this richness of understanding to The Jungle is Neutral. Everything means more.
I make a habit of re-reading favourite novels every few years: Middlemarch, for example, grows and deepens for me every time. I recently read both The Trumpet of the Swan and Pippi Longstocking with my son, and adored them both all over again. Yet I’m not sure I’d have thought to do this with a work of non-fiction, until now. But it’s true, it’s true, it’s true.
Everything means more.
P. S. I finished Paul “Raj Quartet” Scott’s 1960 novel, The Chinese Love Pavilion, and blogged about it at the History Girls. If you read my original blog post, written when I was halfway through the novel, you’ll want to skip down a few paragraphs. If you haven’t… well, brace yourself!
June 30, 2015
Hello, friends. Happy Canada Day, and Happy Fourth of July this weekend!
This week, I’m very excited to bring you some behind-the-scenes images from the cover photo shoot for Rivals in the City.
These pictures were taken in New York by Candlewick Press designer Heather McGee. As you can see, Candlewick used the same model, Amber Ahlquist, to represent Mary Quinn on every cover in the series. What might not be so obvious is that they’re also working with the same costume stylist, makeup artist, and photographer! I’m so grateful for Candlewick’s consistent attention to detail. It makes such a huge difference in the final product.
Here’s a shot of Crystal Thompson (stylist; behind model) and Souraya Hamdi (makeup artist) at work.
Victorian dresses often came in two pieces: a shirtwaist (ie, a blouse) and a skirt. As you can see here, this one is a single garment. It fastens at the front because, as a woman without a ladies’ maid, Mary Quinn would have to dress herself. Dresses that buttoned down the back were a sign of social status: the lady who wore those would have a maid who helped her to dress and undress.
Here’s photographer Scott Nobles checking light exposures. Models seem to spend a huge amount of time getting prepped and waiting around, and a relatively short time actually being photographed.
A few minor costume adjustments, between shots.
And makeup, too. Perfectly historically accurate Victorian makeup, of course.
I love the juxtaposition of jeans and pocket-cameras with 1860s costume!
And there we are. I know I’m biased, but I love seeing how much effort goes into the creation of a book cover. Thank you, Candlewick!
June 23, 2015
Hello, friends. My family is still somewhat under the weather and I’m short on blogging time, so this week I’ll share my new favourite cake. It’s based on this grain-free almond layer cake recipe with a few little changes: increasing the butter slightly, replacing milk with orange juice, adding orange zest. This makes an incredibly fragrant, not-too-sweet cake. When both filled and frosted with buttercream, I find it a little too rich. But with just a layer of buttercream filling, in the manner of a classic Victoria sponge cake, it is pretty much perfect.
Almond Orange Layer Cake
1 cup butter
1 cup sugar
zest of one orange
1/2 cup orange juice
2 tsp vanilla extract
1 1/2 cups almond meal/flour
1/2 cup coconut flour
2 tsp baking powder
1/4 tsp salt
Preheat oven to 350F. Butter two 8-inch round cake pans and line them with parchment. (The cakes get stuck without the parchment.)
Cream together butter, sugar and orange zest. Add eggs, one at a time. Add orange juice and vanilla extract.
Sift together almond meal, coconut flour, baking powder and salt. Add this to the butter-sugar mixture and mix well. (It’s a very thick batter.) Divide batter between cake pans, smooth tops, and bake for 18-25 minutes, or until golden brown.
Once cooled, make a sandwich of the cakes, using about 1 1/2 cups of vanilla buttercream as the filling.
Hope you like it!
June 16, 2015
Hello, friends. This week, my family is either fighting or has succumbed to a nasty, gastro-ish, high-fever bug that’s making the rounds. I assume you don’t need photographic evidence of our misery. Instead, here are Parts One and Two of a group interview I did with Susan Hughes of Open Book Toronto. It’s about mystery writing for children and young adults, and the interviewees include Norah McClintock and Shane Peacock.
Oh, and here are some strawberries. Those who follow me on Twitter know that last year, chipmunks and robins ate all our strawberries. EVERY. SINGLE. BERRY.
This year, we stretched nets over the strawberry beds and TA DA!
Even from beneath this virus’s heel, I feel smug and triumphant when I look at this photo.
June 9, 2015
Hello, friends. I’m halfway through a novel by Paul Scott called The Chinese Love Pavilion. I know, I know: SKETCHY TITLE ALERT! Don’t worry: this is, and will remain, a PG-rated blog.
Cover of the 2013 edition (University of Chicago Press). The pavilion on the cover looks very little like the pavilion described in the novel.
Mostly, it’s research for my novel-in-progress (which is set in Malaya during the Second World War). The Chinese Love Pavilion (another suggestion from my well-read friend Mary Alice Downie) takes place mostly in Malaya just after the war, so I get to experience another writer’s vision of the place. I’d heard excellent things about Scott’s Raj Quartet – four linked novels set in India during the twilight of British colonial rule. I also knew the first novel of the quartet, The Jewel in the Crown, was adapted as a miniseries by the BBC in 1984 to massive acclaim.
The Chinese Love Pavilion, published in 1960, is about a friendship between two Englishmen in the colonies. The narrator, Tom Brent, is younger and in search of a shape for his life. He meets the unconventional, charismatic Brian Saxby in 1930s Bombay and, over the course of a whiskey-soaked evening, falls under his spell. This sets up the men for long conversations about the soul, fate, and the meaning of life. I have a limited tolerance for cod philosophy at the best of times, and that limit plummets when the “exotic” East is used as a picturesque backdrop for these kinds of musings. However, I stuck with it.
The story then skips over the Second World War and picks up in 1946 or so, when a war-injured Brent is brought to Malaya and instructed to find Saxby. Apparently, Saxby is hiding out the Malayan jungle and might be responsible for the revenge-slayings of some Chinese civilians. The metaphysical novel morphs into a kind of homage to Heart of Darkness, with Brent travelling deeper into jungle-dark territory to find his legendary but tortured friend. Promising, right?
An early edition
Actually, I can’t remember the last time I was this appalled by a well-reviewed novel. The self-indulgent metaphysical musings drove me nuts, but I am predisposed to like most things thriller-ish, and the pacing of the novel’s second half is excellent. Also, Scott is gifted with an extraordinary sense of place. His descriptions of the Malayan landscape are vivid and entirely convincing, and his eye for natural detail is impeccable.
However, there’s one massive problem with the novel that (from my current perspective, 3/4 of the way through) taints everything else it attempts: the way it handles prostitution. Women – specifically, the sexual services of young Indian and Chinese girls – are the common currency of this novel. I’m not exaggerating in the least. Here are three conversations from the novel, in the order they occur:
At a restaurant in Bombay, where Brent and Saxby have just dined:
“[The girls are] clean. Clean now, you understand, not later. Later the bloom goes. Disease enters.”
“Does he sell them too?”
“To us first. Honoured guests. Then to others.
When Brent visits Saxby after a three-year gap:
“The little one holding the curtain so patiently, is for you. She is an untouchable, and, I am told, a virgin.”
I looked from Saxby to the girl and back to Saxby. “That was very thoughtful of you.”
He smiled. He said, “I have always been accommodating to my friends.”
In small-town Malaya, where the officer-in-charge offers Brent the use of “his” designated prostitute:
“Did you like her?”
“Yes, I liked her.”
…”Well while you’re here she’s yours. It all comes under the contract but you’ll probably like to give her the occasional present.”
“It’s very hospitable of you. What about you?”
“I’ll manage, I expect.”
Do you see the progression here? Prostitution is first an economic fact, and then a gesture of welcome between friends, and finally a common courtesy, like a cigarette or a cup of tea. I wondered, at first, if this obsessive attention to prostitution could be read as a kind of critique of colonialism, or a comment on the moral effects of the British imperial project. But no.
In a still-later scene, Brent describes a prostitute named Suki “who by European standards was no more than a child and looked absurdly fragile in his beefy arms”. This is an isolated moment of light-hearted physical contrast in a novel that otherwise takes itself extremely seriously. Significantly, it features a young woman who, if she was “European” – that is, worthy of civilized treatment – would be “no more than a child”. I don’t think the word “beefy” is an accident, here. It’s an evocation of what’s familiarly, essentially English. And the “beefy” Englishman who holds Suki – a loud-mouthed but fundamentally loyal and reliable soldier – has the approval of all characters. Could the subtext be any clearer? Child prostitution is a harmless joke, as long as the women are brown and the men are white.
*Let us all pause for a moment to bellow in rage and disgust.*
I am going to finish this novel, because I need to be as thorough as possible in my research. I remain open to the possibility that I could be wrong, and that something towards the end of the book will demolish all my objections. But I’m sad and afraid I’m on the right track.
I have a terrible taste in my mouth right now. What are you reading, friends? What do you recommend to cheer me up, when this thing is over?
June 2, 2015
Hello, friends. I’m currently time-travelling in the colony formerly known as Malaya. I’m interested, specifically, in the Japanese occupation of Malaya during the Second World War and how different groups of Malayans responded to the threat.
Here in the west, many people don’t learn about WWII’s Pacific theatre of war at school. Certainly, my own education focused on France, Britain and Germany, with a dash of Russia and Italy, and a rousing finale by the United States of America. However, there was also a Pacific War and its Axis aggressor was Japan. The most famous incident in the Pacific War, the bombing of Pearl Harbour in December 1941, was just one part of a multi-pronged assault. On that same night in December, the Japanese simultaneously attacked Thailand, Malaya, Singapore, Hong Kong and the Philippines. The next month, the Japanese turned their attention to Burma, the Dutch East Indies, and northern Australia.
When the Japanese invaded Malaya in December 1941, the local population was an ethnic mixture of aboriginal peoples, Malays, Chinese, Indians, and a small percentage of white (mainly British) colonists who controlled the colony’s industry, politics and, of course, wealth. In the prelude to one of military history’s most ignominious defeats, the British failed to take the Japanese threat seriously. Their attitude is well represented by the the Governor of Singapore, Sir Shenton Thomas: when informed of the invasion, he reportedly said, “Well, I suppose you’ll shove the little men off.” Far from shoving the little men off, however, “Fortress Singapore” fell to the Japanese in just 70 days.
By the time the British surrendered to the Japanese in February 1942, nearly all white civilians had evacuated – and had done so, very conspicuously, at the expense of the local non-white population. One remarkable exception to the white flight was Nona Baker, “a parson’s youngest daughter” from Dunstable, Bedfordshire.
Nona Baker first travelled to Malaya to keep house for her brother, Vin (V. B. C. Baker), who was general manager of a mine at Sungei Lembing, “the single largest tin mine in the world”. Before the war, her brother was the most powerful man in the region, universally called Tuan Besar, or “Big Master” in the Malay language. Nona became known as Missie. Vin Baker seems to have been a classic Victorian paternalist in his management of the mine and his workers. Nona believes that “he was a king and father to the people, and they certainly adored him”.
When the Japanese invaded, Vin couldn’t conceive of a British defeat. Even as the Japanese advanced rapidly south through Malaya, Vin refused to leave his community. He made plans to hide in the jungle with Nona: after all, it would be only a matter of weeks, or perhaps a couple of months at most. Three trusted workers built Missie and Tuan Besar a hut in the jungle and stocked it with a primus stove, paraffin and tinned food. Still, denial prevailed. When the Japanese Army rolled into Sungei Lembing, Vin and Nona were quite rattled: “In the hurry of our departure, I had seized the tool kit from the car and taken it with me, instead of carrying something which might have been of some use.” They also forgot to bring any reading material, an omission they bitterly regretted during their long, idle days in hiding.
As it turns out, they weren’t in hiding for a few weeks or months. Nona Baker remained in the jungle for THREE YEARS. Despite the danger of being caught by the Japanese or betrayed by spies, their faithful servants visited them every ten days in the jungle to bring them fresh food, coffee, paraffin and news. (The servants also had Vin’s false teeth repaired, again at immense personal risk: the dentist who fixed the dentures recognized that they were made in Europe.) After the first year, Vin and Nona’s supply of money ran out and they took the decision to go live among the orang bukit, or “hill people”: a euphemism for camps of Communist guerrillas who lived in the jungle and actively resisted the Japanese occupiers.
Nona and Vin were welcomed by the Communists, both out of principle (Nona says that she never saw a refugee turned away by guerrillas, even when food was extremely scarce) and financial savvy (Communist leaders recognized that they could raise funds locally, using Vin’s name). For three years, Nona and Vin lived as very few white people had ever done, in Malaya: on terms of relative equality with local people.
In 1944, Vin Baker died of illness – a combination of malaria, dysentery and beri-beri. He’d suffered from bouts of depression since going into hiding, and these must have contributed to his weakness. What’s much more remarkable is that Nona Baker survived. She gives a few dutiful reasons for her persistence: wanting to demonstrate that not all British were cowards and quitters; looking after Vin; the need to tell her mother, after the war, how Vin died. But there must have been something beyond that – an essential desire to learn, to know, to live. Despite her self-effacing explanations, Nona Baker was an extraordinary woman.
The 1959 edition, published by Constable
Nona Baker was briefly famous after the war, when she was delivered into the care of Force 136 (the equivalent of SOE in Southeast Asia), contributed information to Freddy Spencer Chapman‘s report on local Communist organizations, and returned to England. But it was only in 1959 that she felt able to dictate a memoir of her time amongst the Communists. It’s called Pai Naa: The Story of Nona Baker. (Pai Naa, the name she was given by the guerrillas, means something like, “White Nona”.) Nona Baker remains the only documented white woman to have survived the war by living in the jungle. While it is true, as she admits, she was only “busily saving my own skin”, it is remarkable to have her even-handed portrait of life amongst the guerrillas. It’s an intimate record that otherwise wouldn’t exist.
(This post also appears today at the History Girls.)
May 26, 2015
Hello, friends. This week, I felt tired. I was easily irritated. I slept poorly, drank too much coffee, and didn’t get enough fresh air. It follows that I also didn’t write as much of my novel as I’d hoped – and not for lack of honest effort.
In the past, I’d have been angry with myself. I’d have decided that I was a slacker and an impostor, and found ways to punish myself. It would not have occurred to me that a) I don’t treat others this way, and 2) I would not tolerate this treatment from someone else.
However, in a small but encouraging sign that change is always possible, I didn’t fall for the own-worst-enemy routine. Instead, I decided to be gentle with myself. I gave myself an hour off. And when that hour was over, I went to my writing shed and happily fixed a scene that had been troubling me for 2 days. It really works, not being a jerk to oneself.
In an effort to step back and protect myself in future rough weeks, I’ve made a checklist called, “I’m stuck/tired/lethargic/don’t feel up to writing, WAAAAAH.” As its name so subtly suggests, I’m aiming to train myself to refer to this list every time I feel stuck, etc.
When I mentioned my checklist on Twitter, I got an immediate response and fell into a really interesting private conversation with another writer, which made me think that I should share my list here. It’s geared to me as a self-employed writer, of course, but I think it’s much more broadly applicable.
So, on days or in moments when I feel stuck, etc., my goal is to step back and consider: why do I feel this way? Is it a) low mood, 2) mental fatigue, 3) physical fatigue, or 4) a combination (or something else entirely)?
Then, I have a list of strategies for each type of problem.
Focus on self-care: go for a walk, practise yoga, or make a cup of tea and drink it while looking at the garden.
Do a couple of small tasks that cost little energy and are satisfying to check off on a list (viva the bullet journal!).
Organize something small; choose something that gives positive concrete results.
Think about another aspect of my life that I could change, with satisfying results, and make a plan to take care of it.
After an period of self-care, try slipping into a writing session. Even a couple of hundred words can be a triumph.
Take a short break from work.
Focus on something concrete and personal (NOT for the children!).
Maybe do something domestic: garden, bake, tidy.
After a break, turn towards the WIP: where am I in this project? What tweaks do I need to make? Make notes towards the next writing session. Maybe slip into that writing session, or maybe not.
Read (secondary sources or go over the existing WIP).
Think about an aspect of the WIP and where it’s going. Once the brain is humming, slip into a writing session.
If progress on the WIP remains elusive
Work on a secondary project (mine is currently a picture book)
Make a list of scenes, flesh out in the historical detail in the existing WIP
Read secondary sources
Figure out how to start the next writing session with a sense of momentum, inevitability – map out where I need to go
That’s my checklist-in-progress. It’s far from exhaustive, though, and I hope to build on it. What do you do, friends? How do you manage work slumps and protect yourself from your harshest critic?
May 17, 2015
Dear reader, would I lie to you?
Indeed, I would. I’m going to lie to you today, as part of The YA Dash.
This is the YA Dash first prize: 14 new-release suspense novels!
With debut novelist T. A. Maclagan as our ringleader, 11 authors of YA suspense novels are teaming up to give away some great prizes. (The graphic says 10 authors, but Elizabeth Wein has just joined the gang!) For the rules of engagement and prize descriptions, click here.
Are you ready to play?
Below, you’ll find three statements about my fiction or me. Each statement contains a number (expressed as a numeral). Two of these statements are true; one is a lie.
Read through my website to deduce which is the lie. Make a note of the numeral in the lying sentence. Then click to the author team’s other websites and figure out their truths and lies. Add up all the numerals in the lying statements to get your grand total, and use it to unlock the rafflecopter!
Here we go…
Two Truths and a Lie
Truth or Lie? The first Agency novel, A Spy in the House, won the Canadian Children’s Book Centre’s inaugural John Spray Mystery Award in 2011.
Truth or Lie? The Agency series was intended to be a trilogy but I added a 4th novel, Rivals in the City, to make it a quartet.
Truth or Lie? The Agency novels are published in English and 5 other languages: French, Spanish, German, Italian and Korean.
There are your three statements, and only one of them is a lie.
If this is your last stop, here’s the rafflecopter entry form:
Best of luck to you, dear reader! I hope it’s a blast.
May 12, 2015
Hello, friends. How was your week? I’ve been writing, weeding, baking, and judging a teen writing contest, among other things. A few days ago, I received a large parcel from my former literary agency. Most peculiar! Most mysterious!
I opened it and found these, to my great astonishment:
I’m extremely embarrassed to confess this, but I’d pretty much forgotten about the Korean edition of A Spy in the House, which is published by the delightfully named Tomato House.
Can you make out that gorgeous embossed key motif? The keys seem to dangle from the top of the cover.
Here’s the spine:
I can’t read a word of Korean, but I do love poring over the first page:
And I adore these endpapers.
Sometimes, I get a bit too accustomed to being a working writer. My daily life of creativity starts to feel very normal. And then something like this arrives and elbows me sharply beautifully in my over-privileged ribs.
Thank you, readers of the world! I’m so very fortunate to do what I do, and it’s because of you.