Roy Miller's Blog, page 186
May 18, 2017
TCAF 2017 Grows; Celebrates NBM, Image, Koyama Press
This content was originally published by on 18 May 2017 | 4:00 am.
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Graphic novels in schools, the LGBTQ community and the diversity of readers and artists, were the main themes in the programming and displays on the floor at this year’s Toronto Comic Arts Festival (TCAF), held May 12-14 at the Toronto Reference Library.
Attendance this year was estimated to be up slightly over the 24,000 fans that attended last year’s event, according to TCAF founder and director Chris Butcher.
Organized by the Toronto Public Library in partnership with the Beguiling comics bookstore (which is also managed by Butcher), TCAF is an international showcase for literary and self-published graphic novels and comics. The show featured a celebration of Toronto’s Koyama Press’s 10th anniversary (and its publisher and founder, Anne Koyama); the 40th anniversary of NBM and Image’s 25th. There were new books by such artists as Gary Panter (Songy Paradise, Fantagraphics), Svetlana Chmakova (Brave, Yen Press), Metaphrog (The Little Mermaid, Papercutz) and Guy Delisle (Hostage, D&Q).
This year’s TCAF featured more than 600 exhibitors set up in the Toronto Reference Library, and the show continued its expansion into the nearby Masonic Temple, a historic Toronto performance venue, which housed the Image Comics Pavilion. Artists signing in the venue included such well known figures as The Walking Dead’s artist Charlie Adlard, Monstress writer Marjorie Liu and artist Sana Takeda and Sex Criminals’ artist Chip Zdarsky.
Attendance at the TCAF Librarians and Educators(L&E) Day, held the Friday before the show opens, nearly doubled from last year, according to organizers. The conference offers a day of panels and workshops focused on using graphic novels in educational settings and building library collections of graphic novels.
At the L&E program, cartoonist Shannon Hale (Princess Academy) gave a show-stopping presentation on gender called “No Boys Allowed: The Subtle Ways We Gender Books and Cut Boys off from Reading.” Using reader reaction to her own graphic novels, Rapunzel’s Revenge, The Princess in Black, and her newest book, Best Friends, Hale pointed out that boy readers are often shamed into rejecting books about girls.
“We need to change the message,” she said. “’This is about girls’ instead of ‘This book is for girls.’” Armed with statistical data, Hale showed how graphic novels improve reading levels and can even help overcome gender stereotypes about reading.
One of the most talked about books at TCAF was Gengorah Tagame’s My Brother’s Husband (Pantheon), the story of a Japanese man who is surprised to meet his gay brother’s Canadian husband when the husband visits unexpectedly to pay respect to the family after the brother’s death. Originally published in Japan, the book offers a revealing view of gay life in that country and marks an important new mainstream direction for Tagame, who is famous for his work in the bara manga genre, an explicit erotic genre for Japanese gay men.
Kabi Nagata’s autobiographical manga, My Lesbian Experience With Loneliness from Seven Seas also generated a lot of fan buzz. The book details Nagata’s problems with cutting and anorexia as she struggles to come to terms with her sexuality.
Also featured with a spotlight panel was Ngozi Ukazu, creator of Check, Please!, a hit webcomic turned print graphic novel about a fictional gay hockey player that raised more than $400,000 on Kickstarter. Ukazu confirmed that the self-published Check, Please! two-volume print series will soon have a trade book edition. She expects to announce her new publisher as early as next week.
LGBTQ issues were prominent throughout the show and at the Doug Wright Awards, an annual awards presentation honoring the best Canadian comics and graphic novels, held on Saturday night. Cartoonist Katherine Collins became the first trans creator to be inducted into the Giant of the North Hall of Fame. Under her former name Arn Saba, Collins wrote and drew the lighthearted fantasy comic Neil the Horse in the 1980s and 1990s, but stopped drawing when she transitioned to female.
A new collection of her work has just been published by Conundrum Press, and at the awards she spoke movingly of finding acceptance for her work with the new audience for comics.
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Ian Buruma Named Editor of The New York Review of Books
This content was originally published by JENNIFER SCHUESSLER on 18 May 2017 | 10:05 pm.
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Ian Buruma, in 2013.
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Merlijn Doomernik
The New York Review of Books has announced that Ian Buruma will be its next editor, succeeding Robert B. Silvers, who died in March at 87.
The announcement ended one of the New York literary world’s favorite, and longest-running, parlor games: guessing who would follow Mr. Silvers, who, along with Barbara Epstein, founded the magazine in 1963, and continued to work as his sole editor until weeks before his death. (Ms. Epstein died in 2006.)
The Dutch-born Mr. Buruma, 65, has been a regular contributor to The Review since 1985, and is the author of a number of well-regarded books on World War II, Japanese history, Dutch politics and other subjects. Since 2003, he has been a professor of human rights and journalism at Bard College.
The choice seemed to signal continuity at The Review, whose design and mission have remained virtually unchanged since its founding.
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“I’ve known Ian since 1985 and know that his long association with The Review will ensure that the values and editorial direction of The Review will be upheld,” Rea Hederman, the magazine’s publisher, said in a statement. “Ian’s long relationship with both founding editors will preserve the editorial quality and independence for which The Review has been known since its first issue.”
In an interview with Slate shortly after Mr. Silvers’s death, Mr. Buruma pushed aside rumors that he would replace Mr. Silvers, and paid tribute to Mr. Silvers’s demanding but respectful editorial style.
“I think the great thing about him as an editor is that he had no ambition to be a writer himself,” he said. “He really was an editor.”
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Hely Hutchinson to Retire as CEO of Hachette UK
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Tim Hely Hutchinson will retire as CEO of Hachette UK at the end of 2017. He will be succeeded by David Shelley, CEO of Little, Brown Book Group and Orion.
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Amazon Starts Weekly Bestseller Lists
This content was originally published by on 18 May 2017 | 4:00 am.
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Amazon has long featured bestseller lists track sales ranking by the hour, but what the e-commerce giant has lacked is a weekly list. That changed this week with the launch of Amazon Charts, a new feature that will include not only the top 20 bestsellers at the retailer in both fiction and nonfiction, but also the 20 most read books in both categories. Adult books and children’s books will be included on the lists.
The “most sold” chart will rank bestsellers based on aggregated sales (including pre-orders), as well as books borrowed. Sales will be based on activity from all of Amazon’s platforms (Amazon.com, Audible.com, and Amazon Books), and across all formats (print, digital, digital audio and books read through Amazon’s subscription services).
“People are reading differently now, and we want our lists to reflect that,” said David Naggar, v-p of Amazon.
The “most read” list will be based on titles read, or listened to, via Kindle devices and Audible. Naggar thinks that feature will reflect “what is going on in the zeitgeist” more than Amazon’s lists based solely on sales.
Both lists will be unconventional. There is a buy button on each bestseller, as well as an icon that lets readers view a few pages of the book (via the company’s Kindle Instant Preview technology). Other features are intended to provide fun insights into the books on the list; Amazon, for example, will tag books as that its data indicates were “unputdownable.”
Naggar said he ultimately sees Amazon Charts as another tool for book discoverability at the retailer.
The charts are available at amazon.com/charts. The list for the week ending on Sunday will be posted on Wednesday. Naggar said elements of the charts will also be incorporated, in some way, into Amazon’s bricks-and mortar stores.
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Boston Public Library used book spine ‘smack talk’ to defend the Celtics’ playoff loss against Cleveland
This content was originally published by Julia Guilardi on 18 May 2017 | 6:45 pm.
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The battle between the Celtics and the Cavaliers for the Eastern Conference has begun, and it seems like everyone is getting in on the rivalry.
Yes, that even includes the Boston and Cleveland public libraries, who engaged in some self-proclaimed “smack talk” over Twitter. It all started when the Cleveland Public Library posted this Tweet ahead of Wednesday night’s playoff game:
Congrats to your @celtics on the lottery @BPLBoston, but your luck runs out tonight when you play our @cavs. #DefendTheLand #Cleveland pic.twitter.com/EOJADLCxW6
— ClevelandPubLibrary (@Cleveland_PL) May 17, 2017
The photo shows four books placed on top of one another to form a short poem: “Cleveland invasion, Boston, the luck runs out.”
The Boston Public Library countered on Thursday morning with some book spine poetry of their own.
Our response to @Cleveland_PL‘s #bookspinepoetry smack talk about our @celtics. #Boston #BostonCeltics pic.twitter.com/xTVLdB8Pyw
— BostonPublicLibrary (@BPLBoston) May 18, 2017
When stacked atop one another, the book spines read: “The Bostonians never back down. The good fight continues Friday.”
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Migration, a Makeshift Family, and Then a Disappearance
This content was originally published by GISH JEN on 16 May 2017 | 11:00 am.
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Thoroughly researched and ambitious in scope, Ko’s book ably depicts the many worlds Deming’s life encompasses: As he switches cultures and milieus, Ko tackles the school scene, the music scene, the Bronx, and upstate New York, not to say Fuzhou and Beijing. And she draws on our sympathies: It is impossible not to root for a boy so foundationally unmoored by circumstance. Moreover, Deming’s feisty mother is compellingly complicated: Polly Guo has an itch for freedom she cannot ignore. Indeed, the greatest strength of the book lies in its provocative depiction of a modern Chinese woman uninterested in traditional roles of any kind. What she makes of herself, and what we might make of her, are of interest from any number of angles.
Yet rather than mine this richly unsettling territory, Ko contrives things such that not all Polly’s actions — including her effective abandonment of Deming — turn out to be her fault. Is hers a cost-free freedom? And why is her penchant for freedom made so much of, if it is without consequence? Where Deming’s story, too, eventually devolves into a conventional narrative of a young person learning to follow his bliss, it’s hard not to see this book as one that takes risks but then hedges its bets.
Missing as well is the defining sensibility — the heedless enchantment, the uncanny attunement, the magisterial iconoclasm — that finally marks our most worthwhile fiction. Instead, we have info-stuffed passages like this exchange between Kay and Peter:
“‘You’re at school all day. Are you sure you can’t work here at least part of the time? We have a study, you can write there.’
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“‘Let’s not go through all this again,’ Peter said. ‘You know this is an important semester for me.’
“‘It’s not like they’re going to decide to not make you department chair because you come home early once in a while. Work-life balance. You’ve been there forever, they know you and your work. That’s not about to change.’”
Might we not like to see more art, with less matter?
It is still heartening to see a novel put a human face on migration, and perhaps in future books, this budding novelist’s true promise will be realized. Meanwhile, Lisa Ko has taken the headlines and reminded us that beyond them lie messy, brave, extraordinary, ordinary lives.
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The Sound of Sherlock: Stephen Fry Voices the Master Sleuth
This content was originally published by SIMON CALLOW on 17 May 2017 | 11:00 am.
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Twelve scenes from Holmes’s career.
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Sidney Paget/Culture Club, via Getty Images
SHERLOCK HOLMES
By Arthur Conan Doyle
Read by Stephen Fry
63 hours. Audible Studios
If any fictional character can be said to be immortal, it is Sherlock Holmes. Surviving his own author’s attempts to kill him, he has caught the imagination of each new generation, which has either faithfully continued to read his exploits in the original (sales have never flagged since the first novel, “A Study in Scarlet,” appeared in 1887) or updated him (the BBC’s “Sherlock” a notably successful version of this, but Basil Rathbone and Nigel Bruce did the same thing in 1942) or reinvented him, most entertainingly, perhaps, as Dr. Gregory House, in the eponymous series in which, for many seasons, Hugh Laurie played an irascible, drug-addicted surgeon of preternatural analytical penetration, solving apparently hopeless medical dilemmas. Almost from the beginning, too, other writers, eager to feed our insatiable appetite for his adventures, have written Sherlock Holmes stories set in the Victorian period, but engaging in unexpected encounters: In Nicholas Meyer’s spirited “The Seven-Per-Cent Solution,” Holmes, wrestling with the effects of his cocaine habit, seeks out Sigmund Freud; in Billy Wilder’s underrated “Private Life of Sherlock Holmes,” he runs up against Queen Victoria. He also sometimes pops up in other people’s plays: I fondly recall a version of “The Cherry Orchard” in which Holmes was called in to investigate the drowning of Mme. Ranevskaya’s son (it turned out that the governess, Carlotta Ivanovna, was in fact the son, who never did drown).
The reasons for Holmes’s enduring fascination are easy to understand. He restores logic to an unruly, disturbingly incomprehensible world. Initial chaos — the crime — appears to be without meaning. The great detective, inhumanly brilliant, makes sense of things again. As W. H. Auden remarked in his famous essay “The Guilty Vicarage,” “Holmes is the exceptional individual who is in a state of grace because he is a genius in whom scientific curiosity is raised to the status of a heroic passion.” We come to him like frightened children, in search of explanations. He will never fail us. At least in the realm of crime — though not in the territory of the human heart — he sheds light where there has previously only been darkness. He is clever Daddy, who leaves us reassured, able to sleep at night. But he is by no means perfect. Conan Doyle’s coup de maître, as Watson might say, is to make his hero a flawed man, prone to deep melancholia, liable to escape into cocaine- or opium-induced oblivion. He has the soul of an artist, as demonstrated in his violin playing: He is prepared to please Watson by knocking off some Mendelssohn or Wagner, but when left to himself, he “scrapes carelessly” at the fiddle thrown across his knee. Sometimes, Watson tells us, the chords were sonorous and melancholy, sometimes fantastic and cheery: obviously an avant-gardist at work. Holmes’s behavior, tut-tuts Watson, is bohemian: His papers are piled up higgledy-piggledy all over his rooms, he is entirely disorganized domestically, he is given to long bouts of brooding silence. Nothing that is not germane to his work as a consulting detective is allowed to clutter up his mind. He is indifferent to literature, knows little of history, and cosmology has no part in his intellectual framework. This, too, has endeared Holmes to his readers: The genius is vulnerable, his mental prowess bought at a cost. No doubt some doughty psycho-biographer has decreed that the great detective was bipolar, or autistic, or had Asperger’s syndrome.
But does his vivid outline of a character really qualify Holmes, as Stephen Fry suggests in one of his forewords to this huge spoken omnium-gatherum of the stories and novels, as “one of the most rounded characters ever to have been realized”? He should, Fry proposes, be admitted into the pantheon of supreme literary figures, rubbing shoulders with Falstaff or Hamlet or Don Quixote. But these great personages seem to have an anarchic life of their own, constantly taking us by surprise and bursting out of the parameters of the works in which they find themselves. Whereas the pleasure of reading the Holmes stories is that they are entirely predictable: Holmes is presented with a problem, which, by one means or another, he solves. We, the readers, pit ourselves against his cleverness: Will we be able to get the solution before he does? No, of course we won’t, because Conan Doyle is pulling the strings to make sure that we don’t. He is a master storyteller, no question about that. We hang on his every word. And he very shrewdly pairs his master detective with a genial duffer as a sidekick and gives him a dastardly opponent in the fiendish master criminal, “the Napoleon of crime,” Prof. James Moriarty. All hugely entertaining, but nothing in the books can penetrate our subconscious, because they are the product of a controlling mind. This is by no means to question the pleasure they give, simply to doubt their greatness, a claim Fry frequently makes for them. He verges on the hyperbolic, telling us, for example, that Holmes’s death upset the reading public more than any other death in literature; scarcely more than Little Nell’s, I think, which almost literally brought the nation to a standstill. But despite the odd extravagance, these spoken forewords of Fry’s constitute one of the set’s major pleasures, illuminated by informed enthusiasm and personal revelation: In one he rather touchingly recounts how his first encounter with Holmes, at a very early age, changed his life, leading him on to truancy, expulsion from school and, finally, briefly, prison.
The pairing of Fry and Holmes is a bit of a marriage made in heaven, in fact. In Britain, he is himself almost as much of a national treasure as Holmes: a public figure whose every utterance is avidly reported and disseminated throughout the Twittersphere, his bipolarity, his obsessions with technology, his amatory affairs, all reported on constantly, the contents of his richly stocked mind on permanent display in TV documentaries, his books lining the shelves. One of his outstanding ancillary skills is reading out loud. He is the marathon man of audiobooks: When he recorded the first of the Harry Potter novels for BBC radio, all other programs on the biggest channel, Radio 4, were suspended, the day being given over entirely to Fry’s Rowling. The nation could hope for no one better to sit at its bedside, soothingly and wittily lulling it into purring contentment. In the Holmes books, he reads just under a thousand pages in his wonderfully even and infallibly intelligent voice, touching the characters in deftly — the books field a very large number of well-educated middle-aged men, and it must have been difficult to differentiate one from another. Otherwise, he finds a variety of accents and tones for the many foreigners Holmes encounters; his American accents are lightly done, without attempting, for example, a Utah accent in “A Study in Scarlet.”
Inevitably the poverty of some of the dialogue is exposed in reading it out loud, as are the merely serviceable descriptive passages. Fry’s triumph is in striking and maintaining exactly the right tone for the narrations, all, with a handful of exceptions, in the comfortable, slightly pompous voice of Dr. James Watson, Boswell to the great man’s Johnson. Fry’s Holmes is sharp-witted and mercurial, though not especially idiosyncratic: quite right, as he is merely being reported by dear old Watson. But Fry’s skill in phrasing and articulation over the whole 60-plus hours is beyond praise. How he relishes a sentence like “The conversation, which had roamed in a desultory, spasmodic fashion from golf clubs to the causes of the change in the obliquity of the ecliptic, came round at last to the question of atavism and hereditary aptitudes.” Every consonant in place, every phrase perfectly shaped and filled with sense. There are other complete recorded Holmeses (as it happens, the current collection omits the last book of all, presumably on copyright grounds), but none that sustains the course so buoyantly, and none with the added pleasure of the reader’s pithy commentary on each book.
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Gun Safety Org Taps Book Professionals for New Advocacy Group
This content was originally published by on 18 May 2017 | 4:00 am.
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The nonprofit Everytown for Gun Safety has recruited a group of book industry professionals–over 130 writers, illustrators, editors and agents–to speak out against gun violence.
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Why Dorchester native Dennis Lehane wanted to write a book about a woman
This content was originally published by Kevin Slane on 18 May 2017 | 9:00 am.
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From the mean streets of the fictional East Buckingham in Mystic River to Patrick Kenzie’s crime-ridden Dorchester in Gone, Baby, Gone, author Dennis Lehane has probed the lives of policemen, private investigators, criminals, and ex-criminals in some of the roughest neighborhoods in Boston, real or imagined.
Lehane’s newest novel, Since We Fell, is a departure from his previous works.
Sure, Since We Fell still takes place in Boston, and yes, there’s a criminal element to it, but unlike Lehane’s last three books, it’s set in the present day. And, for the first time, Lehane’s protagonist is a woman.
Since We Fell centers around Rachel, a TV journalist who becomes a recluse after an on-air panic attack turns her into an object of ridicule in the city. Her only solace is her husband, Brian, who understands her like no one else does. Then her life is rattled once more when she discovers that her husband isn’t who he says he is.
Lehane said that a female protagonist fit the Hitchcockian vibe he was going for with the novel, and that after decades of writing stories about men, he was ready for a change.
“I was worried that [a male protagonist] was becoming my only consistent characteristic,” Lehane said. “I wanted to mix it up a bit. I’d just done three books set in the past that were very guy-heavy. I was a little bit tired of just writing dudes.”
In an effort to make sure Since We Fell didn’t read like a male writer simply funneled his own words and thoughts through a woman, Lehane sent passages to female writer friends and scrupulously catalogued what he deemed questionable paragraphs.
“I was worried going in,” Lehane said, “but I kept taking the temperature of it, mentally red-flagging places where I might be a little bit out of my depth, where I might see something through guy goggles instead of a woman’s perspective.”
Some Emerson College students may have thought Lehane lacked perspective when he faced complaints of insensitivity for using the n-word while giving a commencement speech to the school’s graduating class this past Sunday.
“In 1975, I was driving with my parents in a car, and we turned a corner into a riot in South Boston on Broadway, at night,” Lehane said in the speech. “I will never forget this for the rest of my life. We were trapped in the back of a car. We couldn’t move. We could just be buffeted down the street. And they had hung effigies of Arthur Garrity, who was a judge at the time, of Teddy Kennedy, and they were lighting them on fire with torches. And they were screaming, ‘N****** out.’”
Lehane apologized via a statement issued by his publicist.
“The word is the most offensive word in the English language,” he said in the statement. “To use it in the context of the times in which I was describing was to show exactly how ugly those times were and that particular night was. If, in an attempt to convey that with absolute authenticity, I managed to offend, then I apologize to those who were offended. Hurting people with the use of that word, of all words, was about as far from my intention as one could get, but I take ownership of the result. I should have known better.”
[image error]Dennis Lehane gives the commencement address to Emerson College graduates. —Pat Greenhouse/Globe Staff
The Dorchester that Lehane grew up in (and the Boston portrayed in many of his novels) is quite different than the one Rachel inhabits in Since We Fell. Rachel lives in a Beacon Hill apartment. Her life outside of work as an anchor for the fictional Channel 6 is regularly chronicled by The Boston Globe’s Names section and the Boston Herald’s Inside Track. She is “a creature of privilege,” as Lehane put it.
“There was something kind of fun for once to say, OK, these people aren’t working-class,” Lehane said. “They aren’t connected to a struggle that affects their monetary situation.”
Lehane’s book features a mix of real and fictional Boston locations and institutions, which can be enjoyable for local readers who know the difference. Rachel takes jobs at the Patriot Ledger and the Globe before moving on to the fictional Channel 6. In one scene, she grabs drinks at Grendel’s Den in Harvard Square, while in another, she enters O’Halloran’s Pub, a fictional South End bar that once served domestic beers to a crowd of elder regulars but now dishes out IPAs and trendy dishes to tech and finance bros wearing Oxford shirts in various shades of blue.
Lehane said that there isn’t always a rhyme or reason when he chooses between real-life and fictional elements. For Channel 6, which comes off as a callous employer, he didn’t want to criticize one of the local stations like WBZ (Channel 4) or WCVB (Channel 5). As for the bars, Lehane cited the desire to paint a scene completely from the mind’s eye.
“I wanted it to feel almost mythical in some ways, like a fairy tale,” Lehane said, referring to a scene that takes place at a fictional bar. “When I want a scene like that, I go completely fictitious, so that I’m not locked into anything or grounded by reality.”
That said, Lehane admitted that events in his life do play a role in the themes of his novels — though he prefers to cloak anything personal under several layers of metaphor.
“I’m an oblique writer, not an autobiographical writer,” Lehane said. “I’m very much obliquely writing about my life at the time. My brother once said to me, ‘If people really knew what was going on [in your life] when you wrote Shutter Island, it would be clear to them about how autobiographical it was, in some ways.’ But it’s all metaphor. I just took metaphor and I ran with it. That allows me to work through it mentally and emotionally.”
Since We Fell by Dennis Lehane; Ecco; $16.79
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When You Know It’s Love: Making You Feel Calm
This content was originally published by BROOKE LEA FOSTER on 17 May 2017 | 5:03 pm.
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Molly Yeh, a lifestyle blogger and author, with her husband, Nick Hagen. “I just knew he was the one because with him I was the best version of myself,” Ms. Yeh said.
Credit
Chantell Quernemoen
How do you know when you are in love? No 1-800-line psychic will tell you. No notice sent by registered mail. Not even a ping from your iPhone. But there are a million ways of figuring it out, and we’ve asked some people when they knew. Here is one way:
When he makes you feel calm.
When Molly Yeh, a lifestyle blogger and the author of the cookbook “Molly on the Range,” began dating Nick Hagen, her classmate at Juilliard who is now her husband, she didn’t get sweaty palms or butterflies. She felt a sense of calmness. Ms. Yeh, 28, didn’t need to pretty herself up around him; their first date was a long, sweaty bike ride from Boerum Hill to Rockaway Beach to watch the sunrise.
“I just knew he was the one because with him I was the best version of myself,” she said. “We talked and talked and talked, and I thought, ‘I could be trapped on a deserted island with him and never get bored.’”
Soon after, they visited the farm of Nick’s parents in East Grand Forks, Minn., where she fell in love with the open prairie. After a year of dating, they decided they wanted to leave the city and move closer to their families, and while Nick, 30, never pressured her to move to the farm, she knew he wanted to work alongside his father until his retirement.
They moved to the farm in 2013 and married in 2014.
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