Gary Inbinder's Blog, page 8
February 6, 2012
The Flower to the Painter Reviewed in The Copperfield Review
Jessica Garamondi wrote a very favorable (4 Quills) review of The Flower to the Painter for The Copperfield Review, an online journal devoted to Historical Fiction and Non-Fiction.
"This book is recommended for art fans and for anyone who wants to look at the art world from a woman’s point of view."
You can read the entire review in the current (Winter) issue of The Copperfield Review.
Gary
http://www.copperfieldreview.com/revi...
"This book is recommended for art fans and for anyone who wants to look at the art world from a woman’s point of view."
You can read the entire review in the current (Winter) issue of The Copperfield Review.
Gary
http://www.copperfieldreview.com/revi...
January 26, 2012
The Flower to the Painter Reviewed in Neo-Victorian Studies
Marie Luise Kohlke has written a scholarly critique of The Flower to the Painter for Neo-Victorian Studies, a peer-reviewed academic e-journal published at Swansea University, Wales, UK. You can read the entire review online in pdf format.
http://www.neovictorianstudies.com/
http://www.neovictorianstudies.com/
December 30, 2011
English History Authors' Blog - Guest Post
Debra Brown, author of the fine Victorian Historical Novel, The Companion of Lady Holmeshire, has invited me to guest post on the English History Authors' Blog. The subject is: Writing Another Gender, Another Time.
http://englishhistoryauthors.blogspot...
http://englishhistoryauthors.blogspot...
December 18, 2011
Character's the Thing
I write character driven fiction, trying to create interesting, psychologically complex, believably human characters, placing them in situations where they must deal with problems. For dramatic effect these problems ought to be bigger than deciding between coffee or tea for breakfast—although such mundane choices can precipitate a dramatic scene, such as an emotional flare-up having little to do with what to drink for breakfast—but they don’t have to involve life or death alternatives. I think of such choices as forks in the narrative road; the characters needn’t make the “right” choices, at least not according to the reader’s idea of right or wrong. There are many ways to get from L.A. to Chicago. For example, after having been instructed by his father’s ghost, Hamlet’s “right” choice, with twenty-twenty hindsight, might have been to kill his treacherous uncle in the first act, but that would have made for a very short play.
Much popular fiction follows a predictable pattern of character development that many readers have come to expect. The typical “character arc” can be worked out over a canned outline and a skillful writer can use mechanical plotting to produce a satisfying and marketable result. Character driven fiction is riskier, but when successful the literary rewards (though not necessarily the monetary ones) can be great.
In his preface to “The Portrait of a Lady,” Henry James referenced Ivan Turgenev concerning “the fictive picture.” According to James, Turgenev’s fiction almost always began “…with the vision of some person or persons who hovered before him, soliciting him, as the active or passive figure, interesting him and appealing to him just as they were and by what they were.” Those characters were “available” to the writer “…subject to the chances, the complications of existence, (Turgenev) saw them vividly, but then had to find for them the right relations, those that would most bring them out; to imagine, to invent and select and piece together the situations most useful and favorable to the sense of the creatures themselves, the complications they would be most likely to produce and feel.” I don’t think you can do that with a canned outline, although a writer might give the semblance of having done so, though it’s rather like painting the Sistine Chapel by the numbers.
For more than a century readers have asked, “Why did Isabel Archer make the choices she made?” as though they could have chosen better under similar circumstances. That’s like asking, “Why didn’t Hamlet kill Claudius in the first Act?” I think the better question is whether or not those characters acted plausibly, and most important “humanly” within the context of the story, even though the outcome is not the one the reader might have wished for, or in the end found most satisfying.
Much popular fiction follows a predictable pattern of character development that many readers have come to expect. The typical “character arc” can be worked out over a canned outline and a skillful writer can use mechanical plotting to produce a satisfying and marketable result. Character driven fiction is riskier, but when successful the literary rewards (though not necessarily the monetary ones) can be great.
In his preface to “The Portrait of a Lady,” Henry James referenced Ivan Turgenev concerning “the fictive picture.” According to James, Turgenev’s fiction almost always began “…with the vision of some person or persons who hovered before him, soliciting him, as the active or passive figure, interesting him and appealing to him just as they were and by what they were.” Those characters were “available” to the writer “…subject to the chances, the complications of existence, (Turgenev) saw them vividly, but then had to find for them the right relations, those that would most bring them out; to imagine, to invent and select and piece together the situations most useful and favorable to the sense of the creatures themselves, the complications they would be most likely to produce and feel.” I don’t think you can do that with a canned outline, although a writer might give the semblance of having done so, though it’s rather like painting the Sistine Chapel by the numbers.
For more than a century readers have asked, “Why did Isabel Archer make the choices she made?” as though they could have chosen better under similar circumstances. That’s like asking, “Why didn’t Hamlet kill Claudius in the first Act?” I think the better question is whether or not those characters acted plausibly, and most important “humanly” within the context of the story, even though the outcome is not the one the reader might have wished for, or in the end found most satisfying.
December 4, 2011
The Victorians
The Victorian Era (1837-1901) was a period of great socio-economic and technological change, especially in the industrialized West. Take a look back at the way the average European—country folk, townspeople, or city-dwellers—lived between 1600 and 1800; the changes won’t seem that significant. On the other hand, the difference between 1800 and 1900 was dramatic and profound.
Scientific and technological progress that had plodded along for centuries seemed to kick into high gear in the 19th century, especially following the Napoleonic Wars. Steamships replaced sail cutting the transatlantic crossing from weeks to days, railways reduced a day’s journey to hours, the telegraph and later the telephone and wireless made communications over long distances instantaneous. Gas and electricity transformed dark urban areas into cities of light. Improvements in public sanitation, medical practice, surgery, obstetrics and dentistry made it possible for many to live longer and healthier lives.
There was social advancement as well, with the emancipation of slaves and the beginning of the modern women’s movement. But there was a dark side to progress; rapid industrialization swelled the ranks of the working poor; men, women and children toiled long hours in abominable conditions. Factories and mills polluted the air and water, railroads and rank canals spoiled the countryside. Those changes were well documented in the literature of the time, for example Dickens’ “Hard Times” and Zola’s “Germinal.” Bad working and living conditions bred discontent, giving rise to organized crime, anarchy, General Strikes, rebellion and revolution. Industrialization and scientific advancement also led to the development of bigger, better and more efficient killing machines, culminating in the horrors of the First World War.
On the brighter side, there were fascinating changes in taste and fashion, art, literature and music. Painting, for example, went through several phases, from the Neo-Classical, Romantic, and Neo-Gothic, followed by the Pre-Raphaelites, the Aesthetic Movement and the Impressionists. Finally, at the end of the era, we see the beginnings of Expressionism and the Abstract.
As a writer of historical fiction focused on the 19th century, I try to research my chosen period thoroughly, avoiding anachronisms. Fortunately, there are plenty of resources available, especially now that we have the internet. Nevertheless, a writer needs to be cautious, choosing reliable sources for research. Even so, a glitch here and there may be unavoidable, but with sufficient care one hopefully avoids the glaring whoppers.
Scientific and technological progress that had plodded along for centuries seemed to kick into high gear in the 19th century, especially following the Napoleonic Wars. Steamships replaced sail cutting the transatlantic crossing from weeks to days, railways reduced a day’s journey to hours, the telegraph and later the telephone and wireless made communications over long distances instantaneous. Gas and electricity transformed dark urban areas into cities of light. Improvements in public sanitation, medical practice, surgery, obstetrics and dentistry made it possible for many to live longer and healthier lives.
There was social advancement as well, with the emancipation of slaves and the beginning of the modern women’s movement. But there was a dark side to progress; rapid industrialization swelled the ranks of the working poor; men, women and children toiled long hours in abominable conditions. Factories and mills polluted the air and water, railroads and rank canals spoiled the countryside. Those changes were well documented in the literature of the time, for example Dickens’ “Hard Times” and Zola’s “Germinal.” Bad working and living conditions bred discontent, giving rise to organized crime, anarchy, General Strikes, rebellion and revolution. Industrialization and scientific advancement also led to the development of bigger, better and more efficient killing machines, culminating in the horrors of the First World War.
On the brighter side, there were fascinating changes in taste and fashion, art, literature and music. Painting, for example, went through several phases, from the Neo-Classical, Romantic, and Neo-Gothic, followed by the Pre-Raphaelites, the Aesthetic Movement and the Impressionists. Finally, at the end of the era, we see the beginnings of Expressionism and the Abstract.
As a writer of historical fiction focused on the 19th century, I try to research my chosen period thoroughly, avoiding anachronisms. Fortunately, there are plenty of resources available, especially now that we have the internet. Nevertheless, a writer needs to be cautious, choosing reliable sources for research. Even so, a glitch here and there may be unavoidable, but with sufficient care one hopefully avoids the glaring whoppers.
November 23, 2011
Shelved Manuscripts--Vintage or Vinegar?
Manuscripts can be compared to bottles of wine. You shelve them and age them, “turning” occasionally to keep the wine from going bad. Sometimes they improve; sometimes they sour. Case in point: I’m currently working on the fourth revision of a novel I began five years ago. The story began as a Gothic Romance inspired by Jane Eyre and Rebecca. But I wanted more of the paranormal along the lines of The Turn of the Screw, which can be read two ways: as a traditional haunted house ghost story, or as a psychological thriller, a story told by an unreliable — possibly mad — narrator.
After much tinkering,or "turning," including a change of narrative from First Person Parallel to Third Person with a shifting point of view, I decided to go whole hog paranormal so that the supernatural elements, both good and evil, are neither the figment of a character’s imagination nor the result of mass hysteria. Will all this careful “aging” result in a prize-winning classic, a bottle of vinegar, or something in between? I’m afraid I don’t know, and won’t until it’s ready for “tasting.”
After much tinkering,or "turning," including a change of narrative from First Person Parallel to Third Person with a shifting point of view, I decided to go whole hog paranormal so that the supernatural elements, both good and evil, are neither the figment of a character’s imagination nor the result of mass hysteria. Will all this careful “aging” result in a prize-winning classic, a bottle of vinegar, or something in between? I’m afraid I don’t know, and won’t until it’s ready for “tasting.”
November 16, 2011
The Creature Returns
I just signed a contract with Fireship Press to re-publish my first novel, Confessions of the Creature. The book went out of print with the closure of Drollerie Press, 10/21/11. Now, if the stars align right, I expect it will be back in trade paperback and e-book formats sometime early next year.Confessions of the Creature
November 14, 2011
Cross Dressing in Historical Fiction
I recently discovered some interesting posts on the subject of cross dressing in Historical Fiction on The History Girls blogspot. One particular post examined the issue of why stories about women masquerading as men seemed more popular than men posing as women. One conclusion is that in the past women disguised themselves as men to seek adventure or to pursue careers that were closed to them. Men, on the other hand, had cross dressed for less aspirational and inspiring reasons, for example to hide from enemies, to evade military service, or to gain a seat in a crowded life boat.
Consequently, aside from the obviously erotic, stories about men dressing as women have tended to be comical, e.g. "Some Like it Hot," or shameful, as in films and stories about the sinking of the Titanic.
I posted the following comment on The History Girls blog about the Myth of Hercules and Omphale, a source I believe of many comic and erotic cross dressing stories.
"In my novel, The Flower to the Painter, a young woman artist in late 19th century Europe disguises herself as a man to advance her career. That's consistent with the theme of women in the past who cross-dressed to enter professions that were, for the most part, closed to them.
As for male cross-dressing in history, the myth of Hercules and Omphale could provide a good basis for a story. Following some transgression of Herc's, the gods condemned the hero to serve Omphale, The Queen of Lydia for a period of time. While in her service, Hercules wore Omphale's clothing and took to female tasks, like spinning, while the Queen donned the hero's lion skin and carried his club. And they became lovers and enjoyed their game."
Some critics have noted that Hercules seemed to enjoy this little rest from his dangerous adventures and labors, but then he had the option of taking off his dress and returning to his role as hero when he grew tired of spinning and weaving.
Consequently, aside from the obviously erotic, stories about men dressing as women have tended to be comical, e.g. "Some Like it Hot," or shameful, as in films and stories about the sinking of the Titanic.
I posted the following comment on The History Girls blog about the Myth of Hercules and Omphale, a source I believe of many comic and erotic cross dressing stories.
"In my novel, The Flower to the Painter, a young woman artist in late 19th century Europe disguises herself as a man to advance her career. That's consistent with the theme of women in the past who cross-dressed to enter professions that were, for the most part, closed to them.
As for male cross-dressing in history, the myth of Hercules and Omphale could provide a good basis for a story. Following some transgression of Herc's, the gods condemned the hero to serve Omphale, The Queen of Lydia for a period of time. While in her service, Hercules wore Omphale's clothing and took to female tasks, like spinning, while the Queen donned the hero's lion skin and carried his club. And they became lovers and enjoyed their game."
Some critics have noted that Hercules seemed to enjoy this little rest from his dangerous adventures and labors, but then he had the option of taking off his dress and returning to his role as hero when he grew tired of spinning and weaving.
November 12, 2011
Three Turner Masterpieces
I've always admired the art of Joseph Mallord William Turner (1775-1851), so it was only natural that I had my artist-heroine, Marcia Brownlow, admire him too. I recently guest posted a brief excerpt from The Flower to the Painter on Rachael De Vienne's blog. The three paragraphs describe Marcia's impressions upon first viewing three great Turners at London's National Gallery.
The year is 1877, a time of transition in the art world, with the Impressionists gaining recognition in Paris, while London looks more to the works of the Academic Neo-Classicists, the Romantic Neo-Gothicists, the Pre-Raphaelites and their newer offshoot, The Aesthetic Movement. Marcia is torn between the old and the new. She ponders the present and future of art as she contemplates the work of one of the greatest painters of the recent past. Her reflections are accompanied by pictures of three Turner masterpieces.
http://wardancingpixie.blogspot.com/
The year is 1877, a time of transition in the art world, with the Impressionists gaining recognition in Paris, while London looks more to the works of the Academic Neo-Classicists, the Romantic Neo-Gothicists, the Pre-Raphaelites and their newer offshoot, The Aesthetic Movement. Marcia is torn between the old and the new. She ponders the present and future of art as she contemplates the work of one of the greatest painters of the recent past. Her reflections are accompanied by pictures of three Turner masterpieces.
http://wardancingpixie.blogspot.com/
November 10, 2011
Historical Novels Review - Issue 58, November 2011
I recently received a clipping of Michael DiSchiavi's very insightful review of The Flower to the Painter, which appears in the November 2011 issue of The Historical Novels Review.
THE FLOWER TO THE PAINTER
Gary Inbinder, Fireship, 2011, $19.95, pb, 277pp, 9781611791617
Alone at the age of 22 in late 19th-century Florence, with no living relatives and no dowry, the future of expatriate Marcia Brownlow appears bleak. Marcia loves women: in particular, her childhood friend, Daisy. Suspicious of Marcia’s intentions, Daisy’s aunt arranges an opportunity for Marcia to work as a secretary for novelist Arthur Wolcott, on the condition that Marcia sever her ties to Daisy. Ever the pragmatist, Marcia agrees.
Arthur Walcott does not hire women, so Marcia poses as a man. Assuming the persona of her late brother, Mark, she interviews with Arthur and is promptly hired. Arthur discovers “Mark’s” grand artistic talent and arranges for him to be mentored by other artists. All the while, Marcia’s talent is nurtured and her skills continue to grow. While developing a career that spans several Italian cities, London, and the United States, Marcia is pursued by three different women who believe her to be a man. Marcia struggles to manage her erotic feelings for these women, feelings which must remain hidden lest her secret be revealed.
Marcia Brownlow is an unconventional 19th-century heroine. She desires to produce beautiful art, but her aesthetic sensibilities are tempered by practicality. Understanding art to be a business, Marcia desires to produce work that sells, and at the highest prices possible. Disguised as a man, she is taken seriously both as artist and businessman and achieves success. But just as in real life, success comes at a price.
The characters are rich, and the heroine is very compelling. The rather simple plot sometimes drags a bit, but the three-dimensional characters that inhabit it more than compensate. This is very worthwhile reading.
Michael DiSchiavi
The Historical Novels Review is available by subscription from the Historical Novel Society. Here is a link to their website.
http://www.historicalnovelsociety.org...
THE FLOWER TO THE PAINTER
Gary Inbinder, Fireship, 2011, $19.95, pb, 277pp, 9781611791617
Alone at the age of 22 in late 19th-century Florence, with no living relatives and no dowry, the future of expatriate Marcia Brownlow appears bleak. Marcia loves women: in particular, her childhood friend, Daisy. Suspicious of Marcia’s intentions, Daisy’s aunt arranges an opportunity for Marcia to work as a secretary for novelist Arthur Wolcott, on the condition that Marcia sever her ties to Daisy. Ever the pragmatist, Marcia agrees.
Arthur Walcott does not hire women, so Marcia poses as a man. Assuming the persona of her late brother, Mark, she interviews with Arthur and is promptly hired. Arthur discovers “Mark’s” grand artistic talent and arranges for him to be mentored by other artists. All the while, Marcia’s talent is nurtured and her skills continue to grow. While developing a career that spans several Italian cities, London, and the United States, Marcia is pursued by three different women who believe her to be a man. Marcia struggles to manage her erotic feelings for these women, feelings which must remain hidden lest her secret be revealed.
Marcia Brownlow is an unconventional 19th-century heroine. She desires to produce beautiful art, but her aesthetic sensibilities are tempered by practicality. Understanding art to be a business, Marcia desires to produce work that sells, and at the highest prices possible. Disguised as a man, she is taken seriously both as artist and businessman and achieves success. But just as in real life, success comes at a price.
The characters are rich, and the heroine is very compelling. The rather simple plot sometimes drags a bit, but the three-dimensional characters that inhabit it more than compensate. This is very worthwhile reading.
Michael DiSchiavi
The Historical Novels Review is available by subscription from the Historical Novel Society. Here is a link to their website.
http://www.historicalnovelsociety.org...
