Author Q&A with Jennifer Macaire – Part 3

cropped-mesite1Jennifer Macaire is an expat wife, mother and novelist living in France. The following is Part Three of a trilogy of weekly Q&As that lead up to today’s re-release of her novel The Road to Alexander, Book One of the epic Time for Alexander series of novels. A separate post with an excerpt of the novel follows this sessions as well (link below).


Q: So this book deals with time-travel, typically a device of science-fiction, but that aspect is rather low-key here. For those curious, and without giving too much away, can you describe your creative use of the concept?

Time-travel fascinates me – and not only for this book, but for everyday things. When I drop a glass and it smashes on the floor, I try to imagine it floating back up and coming together like one of those slow-motion films played backward. I wish I could go back and see people I’ve known, redo certain things differently . . . it’s sort of a constant background noise to my life. So it wasn’t a surprise that I made it the backbone of the story. As for the science, I used quartz for the time transmission and lightning for the power. It’s not all that farfetched. Something has to move fast, and our bodies are frail things. In order to time travel, they have to be unraveled and recomposed – my heroine wonders briefly about arriving with her head on backwards, but even our DNA is programmed so that everything will go back to its correct place. Hopefully. Luckily for me, time-travel hasn’t been invented yet, so I can pretty much do as I like. And as the time-sender scientist says dryly to Ashley, “You wouldn’t understand anyway.” My heroine is a journalist, not a scientist, so she has to trust that everything will turn out all right.

Q: I’ve counted over two dozen books published in your oeuvre. All in roughly, what 15 years? And that’s with so many more to come! That’s quite prolific. What’s your secret to staying on task – do you have a daily routine or specific writing regimen when working on a project?

I wish I had a regular writing routine, but I don’t. However, when I get the seed of a story and it germinates, nothing can stop me from writing it. I can write anywhere, anytime. Nothing bothers me – television blaring, kids fighting, dog barking, dinner burning . . . I’ve written through all that and worse to finish a story.

Q: What’s your next project after the release of all seven books in the Time for Alexander series?

I have two or three ideas I’d like to explore. One is a YA book, with as a hero a boy in a wheelchair. I have lots of research to do in order to start writing it, however. Another idea I had is another time-travel book, this time with a male protagonist who finds himself in the Asian steppes with a Scythian princess. I’m counting on an archeologist/anthropologist friend of mine to help out with it.

Q: I’ll let you go with this last question about the novel you’re releasing TODAY. Book One ends with a scene between our heroine Ashley and the man himself, Alexander The Great, on a quiet yet ominous note, a kind of calm before a coming storm. Can you give us a tease of the first sequel in the series after The Road to Alexander?

In Book Two: Legends of Persia, Alexander is on the most dangerous and difficult part of his fight to recapture the crown. It was a hard book to write, because I tried as much as possible to keep the timetable of his actual battles and travels around Persia. I did, however, take liberties with history. His time-travelling wife, Ashley, knows when he will die, but she doesn’t dare do anything to change things. She hasn’t yet made the decision to save him, so she just tries to savor each instant and live her life with Alexander to the fullest. The book takes Alexander’s army across the mountains and rivers of ancient Bactria. One of my favorite parts is just when the army reaches the top of the pass through the mountains:

Some men were afraid to venture over the rise, believing that the ends of the earth were right there. Even Alexander, whose unquenchable enthusiasm for adventure had led him this far, seemed unsure of himself. He wrapped his arm around his stallion’s neck, and together they walked towards the summit. We stood back. It seemed fitting.

The two figures stood silhouetted against the monstrous sky. The sun was just starting to set, and the rising moon shone on the opposite horizon. It seemed as if he were alone on the top of the earth with only his horse, the sun, and the moon for company. Then he turned to face us, and he raised both arms in triumph. The way was clear. He’d gotten through. The road to Bactria was open. We poured through the pass in a trickle, then a rush as the men hurried to see the marvels that were beyond the mountains.

I was disappointed. It looked like the same road we’d taken, only downhill – but it was downhill, and the rest of the march was made singing. We sang although we were starving. No one had eaten in two days. The meat was gone, the grain and bread were gone, the onions and garlic were gone, and the soldiers chewed whatever edible plants they could find to assuage their hunger. We had no more water, and our pack animals groaned and staggered, but none fell. Perhaps they scented the grass in the fertile valleys around the Kunduz.

We made camp by nightfall. We were ankle-deep in grass. The next day we were knee-deep, and by evening there were fires, and a real camp was being built on the banks of a fast moving mountain brook.

~ (bonus excerpt from Book Two: Legends of Persia, out later this year) ~

And there you have it. This concludes the author Q&A leading up to today’s release of The Road to Alexander from Accent Press. Now read the third and final excerpt here. And be sure to check the book out via these handy links: (US) (UK).


new-release


~ About the Author ~

Jennifer Macaire is an American living in Paris. She likes to read, eat chocolate, and plays a mean game of golf. She grew up in upstate New York, Samoa, and the Virgin Islands. She graduated from St Peter and Paul High School in St Thomas and moved to NYC where she modeled for five years for Elite. She went to France and met her husband at the polo club. All that is true. But she mostly likes to make up stories. Her short stories have been published by Three Rivers Press, Nothing But Red, The Bear Deluxe, and The Vestal Review, among others. One of her short stories was nominated for the Push Cart Prize (Honey on Your Skin) and is now being made into a film. Her short story ‘There be Gheckos’ won the Harper Collins /3 AM flash fiction prize.


ICYMI

Author Q&A with Jennifer Macaire – Part 1

The Road to Alexander – 1st Excerpt | Jennifer Macaire

Author Q&A with Jennifer Macaire – Part 2

The Road to Alexander – 2nd Excerpt | Jennifer Macaire

Advertisements

Author Q&A with Jennifer Macaire – Part 2

cropped-mesite1Jennifer Macaire is an expat wife, mother and novelist living in France. The following is Part Two of a trilogy of weekly Q&As leading up to the March 9th re-release of her novel The Road to Alexander, Book One of the epic Time for Alexander series of novels. A separate post with an excerpt of the novel will follow each of these sessions as well.


Q: For this book you use a first-person viewpoint. What narrative advantages as well as challenges did that present you with this particular story?

I started this as a short story – otherwise I’m not sure I would have used first person viewpoint, but once I got started, and the story started to develop, it made sense to continue. It gave a more personal touch to the story. I think it connects the reader to the main character in a way that is coherent with the theme of the tale – that of an outsider looking in. Since Ashley is so far removed from the mindset of the people at the time, it gave me a little more freedom to be creative. I didn’t have to worry about justifying or explaining something that I (as a modern woman) could not possibly understand. Ashley has a hard time with slavery, with war (no Geneva conventions in those days) and religion, for example, so it was more fun to be in her head looking out than trying to pretend to be someone from ancient Persia or Greece.

Q: I know you’re a voracious reader. Can you tell us what authors have had the biggest influence on you in recent years?

In recent years, I’d have to say Neil Gaiman – I was a latecomer to his books; my daughter actually got hooked on him first. Also Diana Norman, both her books and the ones she wrote as Ariana Franklin. She was an amazing historical fiction writer.  But I’m not sure my writing style has changed much because of them. I think my style is pretty much set. The writers who I feel truly influenced me were: (in chronological order, no less!) Ray Bradbury, Kurt Vonnegut, and Dorothy Dunnett.

Q: Does being an expatriated American residing for so many years in France give you a unique perspective as a story-maker and writer?

Maybe for writing history, lol. I feel surrounded by it here, it’s all over. I go downtown, and there are ruins and towers from the middle ages, and there are even Roman ruins, traces of the Gauls, museums and such everywhere. It’s nice. It was also fun to go to Rome, see the places where I’d set some of the story in my books. And there is an ancient Greek nymphorium near my town, where the people of the time worshipped at a sacred spring. My spellcheck keeps telling me nymphorium doesn’t exist – but I hesitate to call it a temple, since I don’t think nymphs were worshipped in temples. Ah well, there I go being pedantic again. But if you want, you can see a picture of it here:

dscf2511-0


Q&A to be continued next Thursday, March 9th . . . and now read the second (of three) excerpts of The Road to Alexander here.


~ About the Author ~

Jennifer Macaire is an American living in Paris. She likes to read, eat chocolate, and plays a mean game of golf. She grew up in upstate New York, Samoa, and the Virgin Islands. She graduated from St Peter and Paul High School in St Thomas and moved to NYC where she modeled for five years for Elite. She went to France and met her husband at the polo club. All that is true. But she mostly likes to make up stories. Her short stories have been published by Three Rivers Press, Nothing But Red, The Bear Deluxe, and The Vestal Review, among others. One of her short stories was nominated for the Push Cart Prize (Honey on Your Skin) and is now being made into a film. Her short story ‘There be Gheckos’ won the Harper Collins /3 AM flash fiction prize.


ICYMI

Author Q&A with Jennifer Macaire – Part 1

The Road to Alexander – 1st Excerpt | Jennifer Macaire

Author Q&A with Jennifer Macaire – Part 1

cropped-mesite1Jennifer Macaire is an expat wife, mother and novelist living in France. The following is Part One of a trilogy of weekly Q&As leading up to the March 9th re-release of her novel The Road to Alexander, Book One of the epic Time for Alexander series of novels. A separate post with an excerpt of the novel will follow each of these sessions as well.


Hello, Jennifer! I suppose in introducing you I should start with the fact that I have known you, my fellow scribe, for over fifteen years now and I’m amazed at the literary trail you’ve blazed the last decade-and-a-half in rather prolific fashion with more than two dozen novels (and countless short stories) published. And so here I welcome you, my dear friend abroad, to chat about your latest publishing event. 

Hi Brandon, thank you for having me as a guest blogger to talk about my upcoming book The Road to Alexander, the first in a series about a time traveler who is sent back to interview Alexander the Great. He mistakes her for Persephone, goddess of the dead, and kidnaps her, stranding her in his time.

Q: First question for you – What inspired you to write this epic story about Alexander the Great?

A: It started out as a short story – I had been writing and selling short stories to magazines, and I just had an idea of a sort of alternate history short story where Alexander the Great is never bitten by the mosquito that caused his fatal malaria. I wrote it from the viewpoint of a woman time-traveler/journalist, but when I came to the part where she slaps the mosquito away…I just kept going. In fact, I kept going for seven novels which became the Time for Alexander series. In the first book, The Road to Alexander, I even left the part about the mosquito, and you can catch it if you’re paying attention although it’s no longer important to the plot. I ended up shifting everything around, because he dies in Babylon and I needed to introduce the time-traveling character at the beginning of his great adventure.

Q: What type of research did you have to do for your book?

A: I researched extensively. I used several books on Alexander the Great, including In the Footsteps of Alexander the Great, by Michael Wood, which was produced by the BBC. It was extremely helpful, because the author literally took the path Alexander’s army took across Persia and Bactria on foot. The book was indispensable for calculating how long it took to get from one place to another. More research was done on the army, how it moved, who was in it, and how Alexander fought his battles. Still more was for daily rituals: food, medicine, clothes, money, toothpaste, and religious ceremonies. I researched constantly – every time I had a question I’d either write to an expert or hit the library and search out books. I’m not big on Internet research, it’s too hard to verify facts, but I did use the Internet to put myself in touch with authors and historians. Everyone was very helpful, and I learned a great deal about ancient Greece and Rome!

Q: Do you prefer to plot your story or just go with the flow?

A: I am a plotter and use outlines. I’ve written a couple books just “going with the flow”, but they took forever to finish because I kept getting distracted. I much prefer a chapter-by-chapter outline. This book had to be plotted out using existing people and historical events, the army’s movements, and take into account the seasons and weather, so it was vital to have a strong outline. Within that framework I took many liberties. One of the tricks of writing historical fiction is to keep real events pinned to their place and time. I had to move some of the characters around – I had one of Alexander’s generals interacting directly with Alexander when most historians agree he was back in Macedonia – but I needed him there, so thanks to the wonders of fiction, there he was! It is a work of fiction, after all!

Q&A to be continued next Thursday, March 2nd . . . and now read the first (of three) excerpts here.


new-release


~ About the Author ~

Jennifer Macaire is an American living in Paris. She likes to read, eat chocolate, and plays a mean game of golf. She grew up in upstate New York, Samoa, and the Virgin Islands. She graduated from St Peter and Paul High School in St Thomas and moved to NYC where she modeled for five years for Elite. She went to France and met her husband at the polo club. All that is true. But she mostly likes to make up stories. Her short stories have been published by Three Rivers Press, Nothing But Red, The Bear Deluxe, and The Vestal Review, among others. One of her short stories was nominated for the Push Cart Prize (Honey on Your Skin) and is now being made into a film. Her short story ‘There be Gheckos’ won the Harper Collins /3 AM flash fiction prize.


ICYMI

Jennifer Macaire on Patience + Writing

Interview: A Conversation with Bob Thurber – Part Un!

by Brandon Rucker via Liquid Imagination

Fellow author Susan Henderson calls him “a masterful wordsmith” and “a trailblazer”. I personally call him the Maestro of Microfiction. I also call him friend.

In the late 1990s I was introduced to Bob Thurber and his exceptional writing. We met where many writers had for the past dozen or so years: at the American Zoetrope Virtual Studio, the brainchild of filmmaker, fiction enthusiast and artist advocate, Francis Ford Coppola. Although I became a member in late 1998, I didn’t read and thereafter converse with Thurber until sometime in 1999. I’d like to think we hit it off smashingly. Heck, we even found ourselves on the same side in many of those early, heated literary debates that writing communities are known to have. In many ways Thurber became a willing mentor to those of us who were wise enough to listen, and many members still consider him a literary hero to this day as I do.

I know I personally became a kind of raving fanboy, always referencing his talent and citing his works as glowing examples of how flash fiction was supposed to be done. While reviewing one of his classic stories, I had said “You’re just too good at what you do. Great fortune awaits you, my friend.” Indeed.

I recently uncovered several quotes from some of the other AZVS members about Thurber and his writing from over the years. The praise included such phrases as “scary talent that inspires,” “helpful, gracious and generous,” “Thurber can’t be beat” and “there’s some consolation to losing [a contest] to Thurber”.

Then there was a time when the favorite, though somewhat reclusive, scribe decided to vanish altogether from the ranks that so revered him. First was the complete deletion of his membership. Following this was a series of cryptic messages on his personal website. Various inquiries went unanswered. Thurber, either by design or by accident, had become a bit of a legend in the underground writing community that populated the Zoetrope Virtual Studio. Some even questioned whether Thurber had prematurely passed away—perish the thought! It got so serious that a few members actually checked into his possible demise. .

I am happy to report that the truth was much more positive. Thurber was simply on a mission. He saw no need to talk about writing anymore because he was busy actually writing stories, submitting them, getting them published and winning several contests and awards (if you consider over forty to be merely ‘several’). He has also spent a great deal of his ‘away’ time working on his debut novel, Paperboy: a Dysfunctional Novel (which will be published in May 2011 by Casperian Books).

Thurber and I kept in touch irregularly over the years. Recently I was able to corner him for this interview, an invitation he graciously accepted despite his disdain for talking about himself and despite his recent unspeakable loss of his daughter. And so follows my conversation with the illustrious yet ever-so-humble Bob Thurber.

RUCKER: Bob, what I like most about your fiction is the strong undeniable voice that speaks through it, especially in your first-person narrative works. I remember that I used to read your works and forget that I was reading a work of fiction because the voice that came through was always so real, the stories seemed like non-fictive confessionals. assume that was intentional, and that your 25 years of writing before we met helped you achieve this.

THURBER: First, thank you, Brandon, for your enthusiastic support of my work all these years.

In answer to your question I guess some of my pieces read like “non-fictive confessionals” because many of them start out that way: as true confessions. I’ve never actually sat down with the intention of composing a fictionalized story, short or long. All my work originates from snips of prose recorded in my daily notebook, which is something I’ve maintained for about 35 years. The notebook is part diary, part journal, part sketch pad, part exercise workbook. It’s where I start each day and where I probably spend too much time playing with words when I should be focused on other work.

I’m never trying to create anything publishable in the notebook so I have the freedom to be frank and open, to be snide or silly or tell harsh truths. Any distortion or fictionalization comes only after I’ve identified something genuine, something authentic. At that point I’ll examine the emotional energy in that chunk of prose and try to build upon it, flush out and intensify whatever emotional component caught my eye. But in the beginning I’m never writing fiction; I’m simply making a record of scatterbrained observations, with no goal except to put words on the page, all the while attempting complete sincerity. So maybe some of that sincerity ends up clinging to the fictionalized pieces. That’s my best guess, anyway.

Rucker: For as long as I have known you, it seems you have always written and published micro and flash fiction more than traditional length short stories. Why is that particular love affair the strongest?

THURBER: It’s not a strong attachment, really, though I can understand why it might appear that way. I’ve published a lot very short pieces in venues that imposed a small word limit. And a few of those smaller pieces won an award that brought some attention. But I’ve published a good amount of long stories as well, a few pieces pushing ten thousand words. There’s a moderately long story (about 6000 words) in the next issue of The Indiana Review that I drafted about ten years ago. And I’ve got a trunk load of traditional length pieces never submitted, and long drafts that I haven’t touched in a decade or more. When I started to regularly submit my work I found it easier to pull smaller pieces from my files and edit those. So I guess all it comes down to is that the shorter pieces were easier to rework, shape up, revise. Easier to style.

RUCKER: Some people have described some of your stories as ‘downers’. How do you respond to that description of some of your work?

THURBER: I’m not sure if that’s a complaint or a compliment? Either way it’s a fairly accurate observation. There’s no question some of my pieces are dark, and a few are downright disturbing. But they deal with everyday matters. My monsters are always human. Nothing supernatural occurs. I think that if there’s a common theme or message it’s along the lines of “Count your blessings, because things could be far worse.”

I’m glad when they cause the reader to pause and maybe reflect.

Some years ago I went to a small dinner party and another writer, a talented young woman, who had read a number of my stories, confessed she was surprised to discover that I wasn’t the seriously dark and gloomy person she had expected me to be. Off the page I’m a pretty funny guy. I sometimes write humor, though I haven’t tried to publish many of those pieces.

I’m more intrigued by the darker parts of human nature, the daily traumas that leave scars, the horrific little things people do and the hurtful things they say to one another. I’ve developed a pretty good sense for recognizing cruelty in its various disguises, behind its various masks. I try to present those findings, expose some of the nuance. I recognize that hurt often breeds hurt, that people who are suffering deep emotional pain frequently pass that suffering on in ways big and small, not necessarily intentionally, but by social accident, social collision. Sometimes it is only a minor mishap, a caustic remark. A small action. But that’s an aspect of behavior that I like to examine. I’m no admirer of the dark side but I’m not afraid to study its mechanisms, its power to direct a person’s life by his or her daily actions, how that undermines and destroys relationships. It’s pretty naĂŻve and somewhat of a clichĂ©, but I’ll admit I’m a child of the sixties, a member of that post-hippie generation who believed, as Kurt Vonnegut did, that people who are supposed to love each other should try “a little less love, and a little more common decency.” We’re all going to fade. The least we can do is try to be kind to one another while we’re alive.

RUCKER: You have won your fair share of awards for fiction. Upwards of forty awards, including the Barry Hannah Fiction Prize. What do those awards mean to you? Is there one that means more than the others, or is it like picking a favorite limb?

THURBER: For a long time I was resistant to publishing. I never submitted anything anywhere. Even now I’m sluggish about sharing my work. But for a few years I got in the regular habit of entering contests. So that’s how the awards came about. I liked the discipline of meeting deadlines, though most of my entries were last minute. And I looked at entry fees as a way of supporting the publication while gambling on my work. I like to gamble. I’m a pretty good blackjack player, well ahead of the house, though I seldom get to the casino anymore.

Funny story: about five years ago my wife and I were having lunch at Foxwoods Casino when my cell phone rang, and it was the editor of Meridan Magazine. A very nice woman informed me that my story had won their Editor’s Prize. I was shocked and a bit disorientated. I couldn’t even remember what I had sent to them. I said, That’s great. What did I win? She said, A thousand dollars and publication in the next issue. I said, Cool. I’m in a casino. Should I go back to the tables and gamble some more?

She probably thought she had the wrong number.

Anyway, I enjoyed the irony of getting the news while in a casino, mainly because I think any literary contest is a gamble, a calculated risk, and pretty much of a long shot. I rarely enter them anymore.

RUCKER: Does outside recognition like that validate what you’ve done, or do you feel that positive confirmation has to come from within?

THURBER: I imagine every writer wants recognition for the work they do. Validation can be a morale booster, an incentive to do more work, better work. But I also think that a lot of young writers rush to be published before their work is ready. For myself, yeah, sure, I chased after validation for a short while. And the awards certainly brought a sense of that. But in my case I had a trunk full of work accumulated from over two decades. Lots of work to draw from. Prior to that my validation came from letting my wife read my work. She was my entire audience. So I had her reaction, her opinions, and her support on a number of levels. Beyond that was my own conviction, the fact that I knew I was doing the work every day without excuses, without any need for outside reward. Back then I believed that when I eventually did publish I would do so with a pseudonym. A lot of my early drafts still have that pseudonym on them, and I sometimes wonder why I didn’t stick with that plan. A nom de plume has some advantages. Don’t misunderstand. I like when my work gets recognition, but I’m uncomfortable when too much attention is directed toward me. Over the years I’ve turned down numerous interviews and invitations to “guest edit” or to judge contests, so many that I suspect others draw the impression I’m difficult or unfriendly, but it’s really just timidity, my personal awkwardness. I’ll be honest and admit I’m feeling some of that right now.

RUCKER: Who are the writers that have had the most influence on you as a writer? Who are your literary idols, if you have any?

THURBER: Tough question. Difficult to answer in so short a space. I’ve had scores of influences, direct and indirect, good and bad. Thirty years ago Henry Miller changed my life. So did William Saroyan. There’s a sincerity that flows through their work that is raw, often brutal, but very much alive on the page. Salinger and Hemingway were huge influences for a time; they’re so smooth it’s unnerving. Then there’s Kafka, Hamsun, Donald Barthelme. Dozens more. I used to read like a fiend. I preferred short story’s more than novels. I’d read the same story over and over, trying to break it down. But at the same time I was always studying a lot of psychology, sociology, religion, mysticism, so I was greatly influenced and redirected by nonfiction writers such as Rollo May, Eric Fromm, Krishnamurti, Annie Dillard. Julian Jaynes’ book on “The Origin of Consciousness in the Breakdown of the Bicameral Mind” woke me up. So did Dudley Young’s “Origins of the Sacred.” I mention those titles because they happen to be sitting on my desk. I often go back to works that impressed me. I’ve got a pretty good sized library in my home. But I’m not being fair, or giving a very good answer. I’m sorry. There are just too many authors that influenced how and what I write. It’s a pretty mixed bag.

RUCKER: Do you remember in the late 90s when flash fiction truly became en vogue, the writing community debating the merits of ultra-short fiction and its parameters? On one side of the argument were those who demanded that flash be fully realized stories and contain all the usual story elements—a beginning, middle, and resolution—only in a more condensed form, an abbreviated presentation. Others insisted that the larger story could simply be more implied than oddly forced into such a truncated form. Looking back now, how do you view those debates and did you agree or disagree with either side?

THURBER: I’ve never been a fan of the term “flash fiction” or any of the labels applied to very short fictions. I’m drawn to compressed work, stories that pack a punch in a rather short space. But there are compressed novels I like just as well. So it’s never been about length with me. Good writing utilizes compression. I like density, the weight beyond the actual words on the page. I’m in awe when I find it.

As to the debate about what components make up a capable “small fiction,” or what can or should be left out, I think it’s an impracticable argument, rather subjective from a reader’s view, equally so from a writer’s scrutiny. Every work dictates its own requirements, its own necessary parts. Certainly some impression must be made, some fixed, unified emotional effect upon the reader. The more solid the better, but even a vague impression, a sense of underlying emotion will get the job done. So allusion and implication are important no matter what the length. I guess my view is that if you understand fiction’s basic principles and ideals (which are often misconstrued as strict, rigid rules ) then you’re no longer restricted by them. Better to recognize the rules as guidelines, study them, practice them, understand them, but never let them deter you from creating something fresh, something new, exciting and unique.

RUCKER: Susan Henderson said in an interview a few years back that she believed you were instrumental in getting the Flash Fiction wing opened up at the Zoetrope Virtual Studio. I was certainly around then, but somewhere in between then and now I took a nap. So tell me, my friend: is that myth or truth?

THURBER: That was a long time ago. I was a strong advocate for the creation of a separate wing for Flash Fiction but many members were onboard that campaign. So I can’t make any claim to being instrumental in the process. It’s flattering to be considered some part of it though. Susan Henderson, by the way, is a hell of a writer and one of the nicest people I’ve come in contact with. She’s got a debut novel people should pay attention to. I wish her continued success.

RUCKER: We are featuring three of your microfiction works in our current issue, the two classics in “My New Place” and “Grave Invitation”, and the previously unpublished “Rooms for Rent, Men Only”. What can you tell us about the origin of those works?

THURBER: Not very much. All of those pieces originated in my daily notebook and were based on actual experiences before they became distorted, shaped into the things that they are now. I’m glad that you found some merit in them. And I think you and Sue did a terrific job enhancing “Grave Invitation,” turning it into a multi-media piece. Very nice. Thank you for that.

RUCKER: It’s been a long time coming. Just how anxious are you to finally have your first novel released to an unsuspecting public this year? I know I am anxious for you!

THURBER: I feel really fortunate to have found a publisher willing to take a chance on Paperboy, though I sometimes think I’m not as happy or as thrilled as I should be. It’s certainly no easy chore to get a book published, particularly a highly dysfunctional novel such as this one, which deals with themes and issues not often talked about. So I consider that part of it an honor. A true gift. It was really such an odd, eerie feeling the first time I held the actual book in my hands. It’s got weight, more than I imagined. I’m confident that some readers will find merit in it. There’s already been a bit of buzz about the release, a lot of emails congratulating me, some requests for signed copies, so my mailing list has increased substantially. Oddly, I’m not anxious about the release. At least I haven’t been. Maybe that will change as the date gets closer. Right now I’m focused on other projects. I’m close to handing off another completed novel to my agent. So that’s really where my focus is, on the work still in front of me. Paperboy, anything I’ve published, all of that has to fend for itself.

This concludes the first part of my conversation with Thurber. Be sure to return on May 31st for Part 2 in the upcoming ninth issue of Liquid Imagination as we turn the focus to writing craft and Thurber’s debut novel, Paperboy: a Dysfunctional Novel

Read the first seven pages of Paperboy at Casperian Books

Pre-order PAPERBOY from Barnes and Noble

Learn more about Bob Thurber

And be sure to read Bob Thurber’s microflashes featured in Issue 8 of LI Online:

Room for Rent: Men Only

My New Place

Grave Invitation