Uvi Poznansky's Blog, page 213

Lyrical best describes the writing in this introspective tale

New Goodreads review for Apart From Love:


Sandra's review
Mar 14, 14
5 of 5 starsbookshelves: fiction
Read on March 14, 2014
Lyrical best describes the writing in this introspective tale told through its two main characters, Ben and Anita. Their words and thoughts are vague and disturbing at times, and I felt I had to keep on reading to get to the truth or at least find a concrete explanation for them. Facts about their earlier years are exposed as Ben and Anita unload their emotional baggage, one layer at a time, but as in real life, the story ends in an unexpected way and leaves us with unanswered questions. An intriguing novel!

Why am I moving from one literary genre to another?

Why am I moving from one literary genre to another?This is a question I often ask myself. What I do is just the opposite of branding, perhaps because I find ways to surprise myself. So my books cannot easily be classified in the narrow confines of a particular genre, because life as we know it–and my art, which mirrors it– constantly changes from one genre to the next. One moment is is humorous; the next, it is erotic; then, it might be a tragedy. Consider my books: Rise to Power (historical fiction) A Favorite Son (biblical fiction), Apart From Love (contemporary fiction), Twisted (dark fantasy), Home (poetry) or Jess and Wiggle and Now I Am Paper (childrens' books), they all come from the same pen. I love writing both poetry and prose. They look different on the page: the white space surrounding the letters, in my mind, is like the surface of an ocean. In poetry, it covers nearly all the page, allowing only the a few words to erupt over the surface, because a poem in essence is a burst of emotion. As you read it, you cannot see under the white surface–there is so much hidden underneath! It is an island. In prose, on the other hand, the writer dives into the undercurrents and explores the landscape sunk beneath the surface, so there are many connections being created and being understood by the reader.My writing has often been called ‘lyrical’ by many of my reviewers on Goodreads and Amazon, perhaps because I treat each word with great care, and give thought to every sentence, every phrase, every comma. Similar to the rhythm and rhymes in poetry, I listen to the rhythms of our speech, so the characters in my prose will talk in the flow that reflects their feelings. So all in all, I use parallel techniques for both my poetry and prose.I bring everything I have experienced, everything I have learned into my work. My art and my writing are two sides of the same coin, which you can easily realize when you see the cover images of my books, and when you read them. The process of creativity is, for me, the same. It is a juxtaposition of ideas, a spark that creates an inspiration. Consider, for example, my two charcoal drawings:  The first is a study of a nude, and the second is drawn straight out of a dream, and it features several strange, imaginary creatures, at times penetrating each other, at times wrapping their arms in embrace. Unrelated as these two drawings may seem to be, they came together in my mind, to create an oil painting where reality is uncertain: both the nude and the creature are semi-transparent, and it is unclear if she is dreaming up this creature, or if it is dreaming her up.

The Leprechauns are coming...

The Leprechauns are coming,
They want to stay a while
See what they are bringing?
Take their gifts, and smile!

Happy St. Patricks Day!

Rise to Power★ Audio ★ Ebook ★ Print ★
A Favorite Son★ Audio★ Ebook ★ Print ★

Home
★ Audio ★ Ebook ★ Print ★
Apart From Love★ Audio ★ Ebook ★ Print ★
Twisted★ Audio ★ Ebook ★ Print ★

It's nice to let them out of my head from time to time

When I sculpt a figure, such as here, in one of my earliest pieces, I let it age and become young again, adding and reducing wrinkles as the piece is being formed. For me, working on the audiobook of A Favorite Son is no different, and let me tell you why...



My work was lucky enough to attract the attention of an amazingly gifted voice actor, David Kudler. He is a man of a thousand voices. He says, "It's nice to let them out of my head from time to time." This story provides a great challenge for him, because it starts in the voice of Old Jacob, then as he plunges into the depth of his memories about a crime he committed in his youth, it continues in the voice of the young Jacob. Listen to 'take 1':

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Problem is, the transition between the two voices, the old and the young. Because it happens 'turning on a dime', the listener may think that a new character has just stepped onto the scene. So, here is a different transition, where the voice of old Jacob trails off to a whisper, at the same time that the voice of young Jacob comes in from a whisper to full volume. Listen to 'Take 2: 

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Maybe I'm too picky, but I felt uneasy with 'take 2'. I figured, it is crucial we arrive at a good solution, one that does not jar the ear, one that invites the listener to the journey, so she takes a plunge into the past or rises out of it into the present, together with the character. It is also crucial because we will have more transitions coming up in the next three chapters of the book, so the same solution will apply. It will, in fact, become an audio motive of sorts. 
What i envisioned in my mind was this: with no technological 'gimmick' (such as the double track of voices in 'Take 2'), David will start the transition being old, and gradually, word by word, become young! This may be a great acting challenge, because all the listener has to go on is your voice--there is no visual clue such as the incredible hulk changing color to green, and bursting out of a body of a small little guy, whose clothes hang in tatters by the end of the transition. Take a listen to 'take 3', which is the final take, and let me know what you think:

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  Going home for the holidays? Treat your loved ones to a gift! 
"I can't praise the writing enough; the author has an incredible voice"★★★★★
A Favorite Son★ Audiobook ★ Ebook ★ Print ★

A Time to Remember

Dont miss this opportunity! 
Click this link and join: A Time to Remember
A select group of authors has joined forces with me We bring you amazing historical fiction storiesLet us whisk you away to a different time and placeCome listen to our stories You may win one of the ebooks!

Yael Politis The Lonely TreeThe Way the World is
Olivia, Mourning
Uvi Poznansky A Favorite SonTwisted
Rise to Power
Barbara Robinson River Oaks Plantation
Libby Fischer Hellmann Havana LostA Bitter VeilSet the Night on Fire
Julia Gousseva Anya’s StoryMoscow Dreams Marsha Casper Cook To Life
Teodor Flonta A Luminous Future
Christian Ashley Rose of GweneddDignity
Sara’s Plan
Mcv Egan The Bridge of Deaths
Janet Morris I, The Sun
Kim Scott Regarding RuthWhat Happened to Alex Manning Michael K. Reynold Flight of the Earls: An Heirs of Ireland Novel

At last I arrive at the top, bringing the battle to them

And so, slowly climbing the path, nearly collapsing under the weight of my trophy, I let the troops follow me. At last I arrive at the top, bringing the battle to the Philistines. They gape upon the dismembered head of their champion, and when they notice that it is coming at them, they start gasping and shrieking in fear. A great number of them leave their shields and weapons behind, because the lighter they are—the faster they can bolt from this place.What happens next seems like a daze to me. Having been a child entertainer up to this point, I have never been to a battlefield before, let alone in this new role, this odd public capacity as half David and half Goliath. Constantly advancing I feel the earth rumbling under my feet as the Philistines flee in fright before me. I sense heat, the heat of battle, sizzling in my veins. I hear a flourish of metal, the swoosh of arrows flying back and forth on all sides. Without looking down I step over the bodies of the fallen, the wounded, the weak… Guided mostly by a sense of touch I am unable to make any distinction between theirs and ours. And for a minute I think I spot someone out there, a tiny outline of him back there on the ledge, on our side of the valley. I know it must be Saul, because the sun hits a metallic thing on his head, and at once it comes aglitter. Then the sweat runs into my eyes, and I can no longer find him out there, nor can I locate his crown.
David in Rise to Power
My story is greatly inspired by the differences in depicting the story by artists throughout the ages. Here, for example, the way David is presented in Barry Moser's art. His is a young shepherd, a modern character, one that may be living right now, perhaps in a third-world country. Ambition is burning in his eyes. He wants to become larger than life. His look is directed at you. You become part of the scene. You are Goliath. 
Compare this to the the wood engraving by Louis August Gustave Doré. His David is an iconic hero, with a great, dramatic flair suggested in the folds of his tunic. At his moment of victory, he indeed becomes 'half David, half Goliath' as I suggest in my story. Here, David is more than a character--he becomes a symbol of the possibility of the weak defeating the mighty, with a glorification of war, and with the help of God.  
David by Barry MoserSome of his most celebrated work has been his illustrations for Lewis Carroll's Alice's Adventures in Wonderland and Through the Looking Glass
David slays Goliath by Dore
Love historical fiction? Treat yourself to a gift:Rise to Power★ Ebook ★ Print ★ Audio ★

A Literary Masterpiece

Here is a lovely new audible review, written by Aaron Paul Lazar. Aaron is a mystery writer, and many of his books have audiobook editions. I am thrilled by what he says about the narration of Apart From Love:

FollowAaron P. LazarGeneseo, New York, United States03-13-14OverallPerformanceStory

"A Literary Masterpiece!"

Would you recommend this audiobook to a friend? If so, why?I already have, several times actually. This book is totally out of my usual genre (mysteries/thrillers) and probably falls most squarely in the literary fiction category, but I was completely blown away by its beauty and pathos. The quality of the writing is absolutely top notch, and when that is coupled with two supremely talented narrators, the combination is riveting.
What did you like best about this story?I loved the current tense in which the vignettes were told, alternating between Anita and Ben, and the immediacy of the sensations one experiences when listening. The voices are so authentic, the dialog just perfect. I am so in awe of David Kudler's ability to interpret the written word. He is astoundingly good. And Heather Jane Hogan is equally as talented - her Southern accent was impeccable! I've become instant fans of both narrators.
Which character – as performed by David Kudler and Heather Jane Hogan – was your favorite?That's really tough, because I loved Anita, Ben, Lenny, and the three aunts. But I guess if I was forced to choose, I'd pick Anita. She was so honest and real, no pretenses. She'd been through so much. My heart broke for her in many scenes.
Was there a moment in the book that particularly moved you?So many moments... but I think one of the most moving was when Ben went to visit his mother in the nursing home. So sad, so heartfelt...
Any additional comments?I really loved this book, and I think it should win lots of literary fiction awards. It's just so powerful. But I didn't like the ending! Too much was left open, and I didn't get that warm, fuzzy feeling I crave. (Okay, so I'm a happy ending kind of guy). I think it could have ended shortly after Ben was kicked out of the house - this might have been a good point if there was not to be a happy ending! Aside from being disappointed that I didn't get to see the characters living happily at the end of the story, this book, its amazing narrators, and the beautiful scenes will stay with me for many years to come.

I'm flying through a tunnel

Sucked in by a force, I'm flying through a tunnelThe tunnel of memory that leads me back homeThe past blurs my present, so my vision is doubleThe walls and the ceiling curve into a dome
From here I can see my home, tilting And falling from place, all the lamps are aflame My father's empty chair is slowly ascendingTipped by the light, outlining its frame

This is the opening poem from my book, Home, and the preparatory sketch for its cover, both originating from the same place, the same vision in my mind. I find it so magical that through a creative collaboration with a wonderful actress, Kathy Bell Denton, the words--and the vision--come alive through her voice. 

Take a listen:


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Longing for a place never to be found again?Get Home
★ Audio ★ Ebook ★ Print ★

My heart is knit with yours? What does that mean? Behind the scenes discussion

"I do not trust a single one of the Kish clan—not even Jonathan, who declares he loves me. I keep him at arm’s length, and give careful thought to what his motives may be when he says things like, “My heart is knit with yours.” Being Saul’s eldest son, he is the heir to the throne, so what does he want with someone like me, an outsider? I suspect he knows how ambitious I am. Perhaps he wants to use me to weaken his father for his own purposes."
David in Rise to Power
Take a listen to this passage, read by David George with the cunning of a survivor, and a touch of mischief:

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This narration of the passage happened as a result of discussing the different shades of meaning of the relationship between David and Jonathan. Here is a snapshot of what we said behind the scenes. At first, I thought Jonathan's voice was a bit high, and more than a bit snobby, and so was Michal's voice. Both sounded hilariously funny. I rolled in laughter, but then sobered up and wrote this to my narrator, David George:
This is too funny! But I think I’d prefer that Jonathan not become a caricature of a gay prince, even if that is what he is. His love for David is genuine, to the point that he supports David against his own political interests. So the high-pitched voice can give the listener a hint of his sexual preferences, but lets stop short of mocking him. Lets tone it down a bit... This way, the emphasis is on the political intrigue rather than on his sexual preferences.

This is too hilarious! But once more, I think we should stop short of making her a caricature, because in the next chapter there is a scene where she and Jonathan pull David in opposite directions, because both of them love him in a desperate way. That scene was written after I watched Carmen, where Micaëla and Carmen pull Jose in opposite directions in act 3. For that scene to work, all the characters must be real, lets not flatten them into caricatures. Humor is fine, some sniffing is great, it spices up the reading, but no more than a hint of it…”
After which David George recorded a second version, and replied:
It wasn't my intention to make him so much "gay" as it was to distinguish him as an upper class snob and since we're going with a British accent for the whole piece I went with a British spoiled aristocratic type of character.
To which I said:
Sometimes it comes across a certain way even if you don’t mean it, because listeners may have a preconceived notion of the character. Also, I am always mindful of the certain readers, who may frown if they think it conveys a less than holy relationship. Which is not necessarily a bad thing. I enjoy a bit of controversy. It’s interesting that on my blog, the most popular post by far during this last month is this one: Is it blasphemy? Not kosher? You decide!
Now, check out these two completely different paintings, depicting the friendship between David and Jonathan. Both of them show David as the younger of the two, and Jonathan as the older, more experienced man with the fame of a war hero. The first painting--drawn with vivid colors and flat surfaces--is by He Qi. He imagines David as a divine musician with the harp by his side, looking away from Jonathan who is there to support him. Notice the red face on his mid-section? Is this the thought about his father, Saul, gnawing at him?

The second painting is by Moroni, Giovanni Batista. He imagines David as the slayer of Goliath, holding the Philistine's head in one hand and his sword in the other, with a determined expression on his face, looking ahead to gain his place in history. At the same time the painter imagines Jonathan as a slightly feminine character, holding a spear (which is more slender than the sword of Goliath) and doting on David.
There are many other paintings where the two man are positioned in a more equal role, as two characters in a sacred bond. I am presenting these images to you, suggesting that in each piece of art, the artist makes specific choices to convey the way he views this relationship, which is also true for writers, actors, narrators, and musicians inspired by the biblical account.
David and Jonathan by He Qi
David and Jonathan by Moroni, Giovanni Batista
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In the future, I must refrain from describing all the gory details

"Holding the sword upright over the head of the Philistine, and shaking a little on my feet, I know one thing for sure: by the rules of engagement, the outcome of this battle has already been decided by his fall. Now I have little time before they arrive here, I mean, our soldiers. They are sure to leap down into the valley, uttering wild battle cries and aiming their weapons at the backs of the enemy, who would be dispersing in confusion. 
And time is dear, time something I need. I must finish the job quickly, because when a giant falls you take no chances. What if he has merely fainted—only to rise to his feet again in a few minutes, and come at me? And what if he is simply faking it?So I take a deep breath. The sword feels ferociously heavy over me. Then in one fell swoop I bring it down with all my force, cutting deep into his throat. This is the moment when I decide that in the future, I must refrain from describing all the gory details, I mean, how my victim coughs and sputters as the flesh starts tearing apart... How his arms flail, trying to reach for me, to yank the hilt of the sword out of my hold... How the color seems to be draining from his skin... How blood spurts from the wound, gushing from the sliced vein... How it shoots from his neck all over the blade, and all the way up to the palm of my hand.  This, I say to myself, used to be the hand of a musician. Is this the hand of a hero? A warrior? A killer? It seems to move by its own will, as if it belonged to someone else. Who am I now?"
David in Rise to Power
I love it when my character says that he will refrain from describing all the gory details, only to go ahead and do it anyway, in full, vivid color, holding the dismembered head directly in front of our faces, so we can almost smell the blood, just the way artists have done over the centuries. There are countless paintings of David with the head of Goliath.

David with the head of Goliath by Caravaggio
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