REVIEWED BY CHRISTINE THOMAS for AARP Magazine

At times the best way to communicate the struggle of humanity is simply to write it down; even in today’s instant messaging, friended Twitter-verse, the old-fashioned letter still serves a much-needed purpose.
The prolific Ben Greenman, a New Yorker editor and Palmetto High school graduate, investigates the interplay of the why, what and how of such communication in his epistolary collection. The 14 stories in this slim but substantial volume — the length has more than doubled since its first incarnation as the six-story, limited edition letterpress box Correspondences — are set in a range of locales (from Paris to Harlem to the moon) and eras (from 1851 to present).
A few stories unfold during the Internet age, when Greenman’s characters must sidestep modern communication’s brevity and instantaneousness. They usually do so artfully, save for the narrator in the perplexing yet intriguing Seventeen Different Ways to Get a Load of That, set on a U.S. moon settlement in 1989. He shuns technology and stubbornly clings to letters, what everyone else views as “an antiquated practice.”
Letters are integral parts of the plots and messages. Some impart news, such as the erotic missive to an ex-wife in Country Life is the Only Life Worth Living, pulsing with the narrator’s boundless appetites, while others are considered “particularly efficient delivery mechanism[s] for additional misery.” Some letters are conduits for the blossoming or wilting of love, like the words written by the man in the title vignette who separates from his wife via postcard or in the effortlessly unfurling To Kill the Pink, where deeper connection between two lovers rests on a short note. And some are never meant to be perused, like the more than 2,000 over-the-top romantic love letters Tomas Tinta writes in Hope to a woman he met once.
Throughout, a limber Greenman, author of the rock and roll novel Please Step Back, plays confidently in his customary milieu of human and romantic relationships, inhabiting rapacious male and devious female narrators (as well as quite a few observant painters and lawyers) with practiced ease. Yet his stories are at once weighty and genuine and light and breezy, as he subtly nudges hefty themes of permanence and transience, meaning, isolation and connection. Intensifying mystery and rescuing the collection from a formulaic devotion to letter writing are the intimate yet diaphanous connections the stories share, perhaps a word repeating in two parallel stories or the uncertain sense that characters repeat.
What rises to the surface is that What He’s Poised to Do isn’t just about communication, but what drives it — man’s eternal dilemma, articulated slyly in Against Samantha: “[I]t is every story, told all the time, in every language, with every available flourish. Man is asphyxiated by choice, not in the abstract but in the concrete. It hardens around him.”
Sometimes choices can’t be communicated and shouldn’t be received quickly. Because, like Greenman’s earnest, troubled and deeply human characters, sometimes we need more time to ponder what to do next.
Read more at the Miami Herald
Photo by Dorothy Hong
The author is a deft storyteller and not afraid to provide candid descriptions of her life.
It may be impossible to pick up Jillian Lauren’s new book and not do the proverbial double take: Is this really a true story? Some Girls: My Life in a Harem is indeed a true-life memoir—corroborated with photographs and documents—detailing eighteen months Lauren resided in the harem of Prince Jefri Bolkiah (the Sultan of Brunei’s youngest brother) between age eighteen and twenty. Lauren flaunts considerable creative writing muscle (gained during her MFA from Antioch University) to deliver a tight, sleek narrative standing firmly on Lauren’s deftness as a wordsmith and storyteller, and a titillating tale bound to leave readers desiring more.
Sure—much of the story will, to some, merely seem scabrous. Lauren doesn’t shy from laying out her start as a stripper and quick transition to hired escort, including candid descriptions of sexual encounters. She doesn’t camouflage flaws such as flightiness and stubborn avoidance of hard work. After all, the promise of being paid 20 thousand dollars for spicing up a Singaporean businessman’s parties is enough to get her on the plane, and when it’s revealed the destination is actually Borneo, Lauren doesn’t bat an eye, the money all that matters. It is only when she realizes the parties aren’t just parties that things heat up: “Why hadn’t I realized it before? We were neither party guests nor prostitutes. We were harem girls.”
Shunt aside judgments or Puritanical shock at her questionable choices, however, and what is astounding is that Lauren writes without an ounce of shame, confronting every hard truth. She freely admits her confidence as a sex worker: “I had been a good stripper—a natural, everyone always told me.” And today she appears a natural at writing—astute observations ringing with emotional and factual truth (they’re based on her journal entries)—buoyed by her perspicacious past and loving new family (husband and Weezer bass player Scott Shriner, and an adopted son).
But she wasn’t always this grounded, and Some Girls is, as intended, more about Lauren’s struggle to love and find herself than about sex. Okay—it’s also about sex. You can’t write about a modern-day harem and not expect readers to skip well-placed flashback scenes—drawing astute parallels between Lauren’s harem experiences and those growing up in New Jersey—for promised revelations of the Prince’s venery. And though they add depth and insight, Lauren smartly keeps digressions limited and doesn’t delay juicy details for long.
Lauren was one of the first Westerners to access the Prince’s (they call him Robin) hedonistic playroom, and the intricacies of this ancient but enduring practice are enthralling. Each night, Lauren and a roomful of women of all ages and nationalities await Robin’s arrival, are asked to sing karaoke, retire to a bedroom, or sit next to him in the favored chair.
One of the book’s most fascinating facets is the fierce and complex competition to stay on top and win the spot of Robin’s fourth wife. “The parties were a petri dish,” Lauren explains, “ideal conditions to breed fierce intimacies and fiercer resentments,” which was perhaps what the bored Robin loved most. Despite struggling with weight and self-esteem, Lauren becomes a star student of harem etiquette and strategy, quickly becoming one of Robin’s favorite girlfriends, instantly drunk on the position’s power, jewels and cash.
This may all sound quasi-romantic, but Lauren unapologetically explains that she was really a quasi-prostitute, locked up under 24-hour surveillance at Robin’s beck and call until she asked to go home. But the seduction was nearly inescapable: “Part of it was treacherous and terrible,” say says, “but part of it wasn’t so bad, this world of women with one enigma of a man who held sway over us all.”
Eventually, Lauren stopped objectifying herself, and sought a path she could walk confidently on her own. And in the post-harem, New York life she encapsulates, she’s transformed into the Scheherazade she likens herself to (along with Patti Smith)—enchanting with her life story with another in the wings, a novel, Pretty, to be released next year. Until then, many will delight in re-reading Some Girls, because it’s too good to read just once.
Read a shorter version at the Miami Herald, published 6.6.10
Depending on your position, childbearing is a stupendous miracle, a persistent hell or “an exercise in optimism” — and at times all and more at once. But in Orange Prize-winning British author Joanna Kavenna’s new novel, women’s eternal predicament (and ensuing issues of parenting and being parented) anchors a slick, ambitious narrative deftly entwined with life’s other complex balancing act: keeping hold of reason and sanity.
The four-part narrative is never mawkish, shifting from past to present to future and back with steady prose and a meticulous design that leaves neither the subtle nor symbolic to chance. Each distinct yet inherently connected section begins on Aug. 15, either in 1865, 2009 or 2156, and is titled after major Tarot cards symbolizing human nature. First is The Moon, representing fear and peril-perfect imagery in an anxious and circuitous letter from insanity scholar Robert von Lucius to an unnamed professor. Lucius begs for insight into interviews with an anonymous patient at Vienna’s Public Asylum, mirroring the true history of Hungarian physician Ignaz Semmelweis, called the “savior of mothers.”
Evoking Semmelweis’ attempt to halt rampant childbed fever helps Kavenna stoke momentum. The next “card” flipped is The Empress, symbolic of Mother Nature; this section is set in London in 2009, when proofreader Brigid Hayes is about to have her second child. Her sections are the most immediate and haunting, submersing readers in the tense see-saw of joy and fear, annoyance and delight accompanying pregnancy (she’s “entirely with child — her body had been colonized,”); parenting (she fears failing her son), and being parented (wishing her own mother would leave her be). Brigid’s eventual labor is so intimately described it imparts a tangible film of exhaustion and elation.
But Brigid is inevitably eclipsed by the neurotic, solitary Hermit Michael Stone, or the Fool born as a man. Michael is across London celebrating another sort of birth — the publication of his first novel. Michael is single and estranged from his family, and the attention makes him vulnerable and pushes him inward, testing the bounds of his sanity — and at times the reader’s patience. Discerning the shimmer of madness only gets more complicated with the unveiling of The Tower, symbolic of ruin, suffering and disaster. In this section, set in 2153 when the world is engaged in a so-called “war against nature” due to climate change and overpopulation, interview transcripts with Prisoner 730004 reveal a future in which women are incapable of giving birth, and questioning the status quo labels one as delusional.
From Kavenna’s protean novel emerges a brilliant whole. But just as Tarot readings inspire thinking about past, present and future paths, The Birth of Love is poised to reveal something inimitable to each individual. But first the characters must digest the meaning of the cards and determine their guidance for the future — which, as Michael articulates, is “the locale of your hope, the place where you deposit your expectations. And your fears, too.”
Mark Twain is an American icon.
As historian Roy Morris Jr. says in his new book, Lighting Out for the Territory, Twain’s name “is as much a trademark, in its way, as Coke or McDonald’s, or Mickey Mouse. He’s that big.”
Known for his red, bushy hair, humor, and exaggerations—“he rarely let the facts get in the way of the story,” says Morris—Twain’s tall tales helped make Twain famous, and like the stories of his arguably equally famous character Huck Finn, are to be taken with a healthy dose of salt.
Even Roughing It, Twain’s personal account of his 1861 stagecoach trip from Missouri to the then Nevada Territory, at age twenty-five, and ensuing adventures in the American West, does not escape the “stretchers” he deemed necessary to a good story. And thus the aim of Morris’s book is to tell the true tale of that trip, and in so doing reveal how in six years Samuel Clemens was transformed from a bit of a lazy-doer seeking to get rich quick into the writer we now regard as one of our country’s best. In other words, how he became Mark Twain.
Yet by playing detective, searching for and presenting evidence either to corroborate or debunk Twain’s stories, Morris in many ways takes out of the book what makes Twain, Twain—begging the question: where’s the fun in that? Because Morris does exactly what he sets out to do—replaces amusing, inaccurate elements with correct but less interesting historical record—there actually isn’t much broadly accessible amusement to be had.
Morris painstakingly tracks what really happened to Twain, to the extent it’s knowable from research, down to Twain’s own lists of what he packed on which trip, and even debunking quotes such as remarking that “there’s no hard evidence that he ever made the famous quip: ‘The coldest winter I ever spent was a summer in San Francisco.’” But because Morris is so removed from immediate events—he wasn’t there, as Twain was, and is forced to read between the lines and recreate situations from texts—their recounting often falls flat.
The narrative does stir, somewhat, when Morris provides perhaps more interesting context about Twain’s life in the American West or more engaging locales like Honolulu and San Francisco. In the section on Twain’s visit to Hawai’i, for instance, Morris provides an encapsulated Hawaiian history lesson about Captain Cook, and dynamic figures like Ka’ahumanu. And true, larger than life characters populating the streets and encountered on Twain’s journeys, and famous people he meets along his rise to fame add some welcome flavor.
In the end, it comes down to whether you believe Morris’s endeavor dampens the pleasure of as Morris calls them, Twain’s “flavorful but not particularly accurate account[s],”of this period of his life, or that it provides delicious insight into the real man and developing writer.
In the preface to Roughing It, Twain himself calls the book “merely a personal narrative, and not a pretentious history or a philosophical dissertation.” Whether Twain would view Morris’s history to be pretentious regrettably can’t be known, but for those addicted to Twain in all shapes and forms, that this book unearths new elements of the “real” Mark Twain may be all that matters.
REVIEWED BY CHRISTINE THOMAS
Originally published 4/4/10 in the Honolulu Advertiser
The more things change, the more they stay the same. A few decades under your belt and regular glances at news headlines reveal that truth. Even brief immersion in Jordan Goodman’s new book proves it as well; he has written an utterly thorough resurrection of turn-of-the-century Peruvian rubber-trade atrocities.
Goodman’s engrossing narrative breathes life into meticulous research on circumstances surrounding the reluctant, Irish-born British consul Roger Casement’s 1912 report on the treatment of Indians and Barbadian citizens in the Putumayo River region of the then-Peruvian Amazon (now part of Colombia). He transports us to the Andes, when two American adventurers cross into Amazonia and then are crossed by the rich, crafty merchant Jose César Arana, president of the Peruvian Amazon Co. They soon learn Arana controls the Putumayo and virtually the country, deriving wealth and connections from systematic enslavement of native Indians forced to harvest wild rubber for export.
Goodman encapsulates the issue well: “The problem in the Putumayo, as in the Congo, was quite simply forced labor.” Even though the world had recently confronted King Leopold’s terror there, before the first mention of Arana’s transgressions, we remained blind to the worse “crimes against humanity” (Casement’s term) playing out in Peru. But once Arana’s company went public in Britain, and officials learned that indentured laborers from the British colony of Barbados were involved, Britain launched an official investigation headed up by Casement.
The book carefully tracks that process, while Goodman motors the pace and stokes suspense with cliffhanger chapter endings and a dramatic courtroom trial. Precise, contextual description enlivens historical record, such as the particulars of a meeting place: “[A] roomy, Gothic-looking room, with two full-length windows overlooking the Thames on one side and an enormous fireplace on the other.”
Like Casement, Goodman at times “let the men tell their own stories, sometimes he presented their stories in the form of narratives.” But whereas Casement mixed narrative and “near-verbatim conversations,” Goodman combines his conjuring of place and time, peppered with impressive quotes of voices recorded in primary sources.
The highlight of the book is definitely Casement’s report and protracted fight for Indian human rights, but The Devil and Mr. Casement is delicately presented less as a tale of atrocities than as one of all-too-familiar corporate greed, diplomatic red tape, conflicting politics and the shifting influence of the West in South America. The resurrection of Casement’s story subtly but powerfully reminds us that we don’t always learn quickly enough from mistakes. All we can do, Goodman seems to hint, is continue to tell such stories so that they remain, like this one, as real today as they were more than a century ago.
Published 3/28/10 in the Miami Herald
The debut novel by Randy Susan Meyers — whose family hails from Miami — dives fearlessly into a tense and emotional story of two sisters anchored to one irreversible act of domestic violence. The narrative’s dual narrators, Lulu and her younger sister Merry Zachariah, become innocent casualties when, in a terrifying scene relayed from Lulu’s childhood perspective, their father murders their mother. Meyers painstakingly traces their lives to show just how much everyone else pays for that one act of violence.
Heenan divides his profiles into three categories—crusaders, combatants and comeback kids—and draws not only from education but such genres as sports, the military, climbing, and corporate downfalls. While the tales are meant to in some way illuminate character traits and strategies for converting adversity into success, they are written as an intimate glimpse behind the scenes. “From these portrayals of people under duress,” Heenan promises, “you’ll discover the roadmaps for negotiating rugged terrain, guides for forging your own bright triumph.”
Yet he does highlight six specific strategies at the start, delving into more detail at the book’s close—a list that somewhat ironically ends with “start now.” And throughout each story, adages can be easily plucked, such as Kansas State football Coach Bill Snyder’s disciplined, “future oriented,” positive mentoring and ability to meld disparate folks into a team.
But even if you’re not looking for how-tos for overcoming adversity, and perhaps even better if you’re not, the profiles are most compelling for their almost fly-on-the-wall perspective and Heenan’s personal access to each individual. Joel Klein’s story riveted because of the potential for applying his education strategies to American schools at large. The details behind commander Scott Waddle’s confrontation of failure directly after his submarine sunk the vessel Ehime Maru, killing nine Japanese citizens, is particularly captivating, as is Gary Guller’s rise to climb Everest even after losing an arm, and Hawai’i’s own Steve Case development of his post-Aol revolution plans.
Only a few seem to teeter on the edge of success, such as the tale of the Native American teenage mother Sacagawea repeated rescue of Lewis and Clark throughout their expedition to the West—it seems a bright triumph only depending on one’s point of view. And when discussing UC Berkeley women’s basketball coach Joanne Boyle’s impressive perseverance, describing Cal sidetracks him and her portrait falls a bit flat. There are also times his prose meanders, as if we’re traveling synapse routes in his brain.
But above all, his either consciously or unconsciously Obama-like message of optimism and hope gives Heenan’s book far reach—unveiling remarkable lives and applicable winning strategies that, as he hopes, “carry the unmistakable accent of commitment and a willingness to act.”
SPOONER. Pete Dexter. Grand Central. 466 pages. $26.99.
My official measure of a novel has to do with visionary reach and enduring ideas and other high-minded literary attributes. Secretly, it’s none of that stuff. It’s all about envy.
The novels I love, the ones I consume with the ferocity of a crack-smoking junkie, come with lines that stop me dead on the page, cause me to back up and read the words again, muttering jealous curses, wishing they were mine. Melville’s great and all, but once I got beyond “Call me Ishmael,” my self-esteem remained pretty much intact. Melville laid out the big ideas, maybe, but Pete Dexter wrote the lines that laid me low.
Almost 50 years ago, Timothy Leary and Richard Alpert, who took the name Ram Dass and was once described as “a consciousness-raising Oprah,” launched the ambitious — and in retrospect, unbelievable — Harvard Psilocybin Project.
Most know what resulted from their groundbreaking psychedelic experiments with MIT and Harvard graduate students, but the inside story has remained mysterious. Now a remarkably engrossing biography by veteran religion journalist and author Don Lattin reveals how Leary and Alpert linked up with world religion expert Huston Smith and later clashed with Andrew Weil, today’s bearded “CEO of alternative medicine in America,” their lives from then on forever entwined.
Lattin’s narrative is engaged but journalistically neutral, and though he categorizes Leary as “the trickster prophet,” Smith as “the teacher,” Alpert as “the seeker” and Weil as “the healer,” the individuals resist his dispassionate labels. The book offers an oppor tunity to be a fly on the wall, witnessing the unfolding of the decisions, yearnings and — yes — drug trips this infamous group experienced centered on seeking a more conscious and freethinking way of life.
To unpack these interwoven, perhaps karmic, relationships, Lattin’s narrative hops around, swooping through one man’s life then alighting on the next. Time becomes somewhat unhinged, much like Leary and friends describe the LSD experience, and, unfortunately, Lattin continually repeats facts and context, from explaining Weil’s future career to the reason the Beatles’ wrote Come Together. Yet the story’s inherently captivating elements allow these redundancies to be overlooked. Lattin is unexpectedly adept at plaiting together separate but contemporary threads of history and purposefully employing ’60s parlance, allusions and celebrity cameos (Ken Kesey, Aldous Huxley).
Lattin’s prose is also atmospheric, holding its own against this powerhouse backdrop while resting confidently on a narrative nonfiction foundation of sanctioned re-created dialogue, outside source material and recent interviews with Dass, Smith and Weil. When he describes Leary’s first “mushroom ride” in Mexico or Smith’s terrifying yet awe-inspiring LSD trip, his evocative description highlights drama and siphons readers into the moment to experience it, too.
But arguably the most interesting aspects surround the early times. The book begins when Leary and Alpert were driven clinical psychologists. Leary, who attended West Point, was also “once considered a rising star in mainstream psychology,” and Alpert struggled with his sexual and spiritual identity long before a visit to India transformed him into America’s guru. They joined forces with Smith, an open-minded scholar and author of the foundational book The World’s Religions, steeped in faith since his missionary childhood in China. Only the ambitious undergraduate Weil was perpetually excluded from the clique, his scheming keeping him tenuously connected (one of the story’s most shocking and captivating facets).
The Harvard Psychedelic Project‘s intimate, revealing vista makes the book soar, and, as Lattin hopes, just might inspire today’s idealists to carve a new path and profoundly change the world as these four dynamic visionaries once did.