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Staff Chat: Sarah Gerard’s BINARY STAR

The Chatters: Annalia Linnan (Bookseller) and Ben Rybeck (Events Coordinator)

The Book: BINARY STAR, Sarah Gerard’s debut novel

The Context: The newest title from Two Dollar Radio, the Columbus indie press whose recent releases include THE ABSOLUTION OF ROBERTO ACESTES LAING by Nicholas Rombes and ANCIENT OCEANS OF CENTRAL KENTUCKY by David Connerley Nahm

The Plot: Two young misfits take a roadtrip, throwing themselves upon a wasted American landscape. The narrator, a graduate student studying astronomy, struggles with bulimia. Her boyfriend and companion, John, drinks too much and takes pills. Brash, surreal, and experimental, BINARY STAR is a portrait of loneliness and codependency—of two people adrift in an onslaught of American culture.

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Annalia: The first part of this book devastated me.

Ben: With all the declarative, enigmatic statements? The narrator keeps telling the reader things like, “Tonight I want to stop time,” and, “I eat nothing but time,” and “I’m disgusting.”

Annalia: Yeah. It felt very personal—very present.

Ben: It’s interesting, because there’s really no “setting” in the first thirty pages—no “plot,” per se. We just know that the narrator and her boyfriend are orbiting near each other, and she’s telling the reader some pretty direct shit about her life—about her bulimia, her depression, her angst—even if it seems removed from time. How do you process that as a reader? Do you try to build some kind of a narrative out of it, or do you just take it as an onslaught?

Annalia: I mostly followed the emotional arc. That's always how it is for me. When you think about and remember things, it's always jumbled—always more about sensation than about coherent reality. The first part of BINARY STAR captures that. But now after reading the book, I feel like that first section is maybe just a broader picture of the rest of the novel—an overview, almost—and the other chapters fill in the details. In terms of form, I didn't know at first whether John would be a character that we get to see, and whether he would get to speak for himself or it would always be filtered through her brain, the I/you narrative. I think the strongest thing about the first section—and the whole novel, really—is illustrating how you can feel even more alone with another person than you do on your own sometimes.

Ben: I know what you mean. What I liked so much about the first thirty pages was the way the narrator seems to talk about, and address, a person [John] who never gets described, never gets to be heard, never appears in a conventional scene with dialogue and stuff—is basically never there. Although the narrator talks about another person, that person is, at first, an absence in the book.

Annalia: Exactly. Because he isn’t there, it allows the narrator to express all her contradictory feelings about him. She doesn’t have to commit to loving him or not. She can just blurt everything out, and I really connected with that: not knowing what you think and being generally bewildered, the idea of looking at a situation and not knowing what is the most broken thing or when it started breaking.

Ben: So why do we care about the characters? The book is taking the chance, I think, that the ugliness of the characters is inherently interesting. Or that the ideas that the characters have—about politics, about culture, about veganism—are inherently interesting. But some things remain vague.

Annalia: It felt purposeful to me.

Ben: Yeah, me too.

Annalia: After the first thirty pages, when the “plot” starts and the book gets more conventional—

Ben: You mean, there are scenes where characters actually, like, talk to each other and do things?

Annalia: [Laughs] Yeah...and they’re driving around the country...yet I never quite understood the purpose of their journey—nor do I think I was meant to.

Ben: But other things became very specific, like the way the narrator compulsively focuses on her body: “The tops of my thighs almost touch. My lower stomach extends past my hip bones. My upper arms look flabby. I can’t see my chest bones. My ass should have its own atmosphere.” It reads as this almost cubist deconstruction and exaggeration of the human form. There are also scenes in the grocery store, where the author will sometimes just list brand names for a page or so. It becomes surreal, with all these bizarre words, these brand names—Mrs. Buttersworth, Heinz, MorningStar, Rice-A-Roni, and so on—piling up. Very specific, and in its specificity, sort of nightmarish. On the other hand, the narrator calls her mother from time to time, and you never know what her mother is saying; you only get one side of the conversation.

Annalia: I thought some of those conversations might not have even been real, just things that the narrator wanted to say to her mom. Then again, that’s just another absence in the book that feels purposeful—part of the author’s larger vision. You also don’t know much about the narrator and John’s relationship—like, what things were like before the book begins—but I was fine with that. It felt reflective of the way somebody might live in a sort of heightened state: the present seems very specific, but the way you got there might feel a little hazy.

Ben: So what do John and the narrator see in each other? What is the nature of that relationship?

Annalia: I dunno. It’s a little hard to understand what their relationship is exactly. They say that they’re boyfriend and girlfriend, but they don’t behave that way, and they don’t seem to agree on anything, so I think all of that just complicates it. There’s maybe two or three scenes I remember where they actually have sex instead of just talking about it. One of those times is when they’re at that friend of her mom’s [somewhere they spend the night on their cross-country journey], and I think it was just something that happened because they were in this space completely removed from everything that they’re familiar with except each other. But the other sex scenes are so violent. I wasn’t sure what that meant about their relationship. But it made me uncomfortable.

Ben: What are the virtues of being uncomfortable when you read a book? This book or other books?

Annalia: It can be great! Whenever you pick up a novel, there are certain things you want to find, or expect to find, and when things don’t go according to plan, it just makes you question what you’re missing, and why that’s upsetting you. I guess we haven’t talked about the idea of the binary star itself—the details of astronomy and space that form the novel’s governing metaphor.

Ben: Sure, the author really isn’t shy about that stuff. But it makes sense as a detail of characterization. Of course the narrator would be thinking about astronomy; that’s what she’s studying, and therefore how she would make sense of the world around her. It helped build voice. And there’s a moment of it that I especially love: “When we originally went to the moon, our total focus was going to the moon. We weren’t thinking about looking back at Earth. But now that we’ve done it, that may as well have been the most important reason we went.” I love that moment. It seems to give some kind of perspective to the story, or to signal to some future where they would be looking back at the things that they had done. The book feels almost suffocatingly in the present tense, but I like that moment with the moon because it lets us see outside of their moment, you know?

Annalia: So you’d recommend this book then?

Ben: Yeah, totally. It’s challenging, but fascinating. You?

Annalia: Definitely—even if for no other reason than it’s just unlike anything else out there.

Ben: It kind of reminded me of Merrit Tierce's novel, LOVE ME BACK. In both of them, you have these narrators who are really forthcoming and seem to think a lot and feel a lot and are always up front about it. But by the end of the book, it seems like their “honesty” is as a mask for the fact that they really have very little interiority whatsoever. The voice of BINARY STAR in particular almost seems to mimic her bulimia to me, because it becomes so compulsive, the urge to just say things and be direct and be honest with the reader. At a certain point, it really did end up feeling like she’s not only emptying her body, but she’s also emptying her head. Does that make sense?

Annalia: Yeah. By the end, it feels like the narrator isn’t even a person anymore. She seems like a vessel for something else. I’m not sure what—the novel’s enigmatic that way—but by the end, I found myself thinking, “These are not your feelings. You’re not feeling these things anymore.”

Binary Star Cover Image
$16.00
ISBN: 9781937512255
Availability: Not On Our Shelves. Usually arrives in 1-5 Days
Published: Two Dollar Radio - January 13th, 2015

Q&A: Chad Broughton

Living in a city like Houston—a global metropolis that currently enjoys an economic boom—it’s sometimes easy to forget that the reality of globalization for many, many people looks closer to what happened in 2004 to the town of Galesburg, Illinois: the relocation of a Maytag refrigerator plant—long the backbone of that community—to Reynosa, Mexico. Although these two cities had nothing in common before, this corporate decision intertwined their destinies, and as Galesburg fell into decline, Reynosa started to develop into a thriving urban area. But what of the families in these two cities? What of the workers? What does globalization look like when you sit down across from other human beings and stare into their eyes? These are the questions of Chad Broughton’s BOOM, BUST, EXODUS.

Broughton, who teaches at the University of Chicago, covers this subject with an academic’s skill, but his book reaches beyond that too, delving into the lives of people in Galesburg and Reynosa with the precision and sweep of a social novelist. BOOM, BUST, EXODUS tells the story of globalization through the voices of the people struck most deeply by it, and in so doing, Broughton creates a portrait of two countries—the United States and Mexico—in the throes of great change.

Broughton will visit Brazos on Monday, January 19, at 7pm. In anticipation of that visit, I spoke to him about audience, responsibility, and the virtues of grimness.


BRAZOS BOOKSTORE: Given your academic background, readers might find this book a little intimidating. How would you describe it to somebody who claims not to like books about economics?

CHAD BROUGHTON: I would describe it as a book about ordinary people caught up in a time of extraordinary economic change—the dilemmas they face, how they adapt, where they fall down, how they pick themselves up. I tried to write an engaging book about people and the places they live, with brief explorations of the historical, sociological, and economic contexts in which they find themselves.

BB: So are you writing for an academic audience or a more “general” audience—however you define that?

CB: I have been driven for the past decade or so by the desire to craft a book that would not only be well-received by my colleagues in sociology, but also a book that my family and friends would enjoy. It’s a fine balance, and one runs the risk of pleasing neither audience. I hope the final product works on both levels, but I’m especially hoping book lovers of all sorts will like it. I think a general audience—all of us who are curious and love to read, really—relates to storytelling about people and places, and that’s what I’ve tried to do.

BB: Well, certainly storytelling is the backbone of this book. How did you decide which personal stories to include or exclude?

CB: That’s a great question. You’re right; I didn’t include everyone I interviewed. Instead I focused deeply on stories that I found to be suggestive of common experiences in both Galesburg and Reynosa—and, more generally, of the Rust Belt and the U.S.-Mexico border.

BB: Do you feel responsible for these people after you write about them?

CB: I’ve known many of the subjects of the book for over twelve years now, and they’ve been incredibly generous to me. So it’s essential to represent faithfully the facts and lives of the people with whom I spoke, and to do so with empathy and compassion. When people invite you into their lives for that long and agree to share their life stories—especially in this case, in times of hardship and turmoil for many—one has to get it right, down to every detail.

BB: What surprised you most in writing this book?

CB: That everyone has an interesting story if you’re willing to listen. Whether it was in Galesburg, Reynosa, or Veracruz, I found people who not only had something to say, but something they wanted to say—and these are people who are not typically listened to by journalists, politicians, or corporate leaders. I love to listen and to try to draw out insights, to have conversations with people from all types of backgrounds. That has been surprisingly easy and incredibly rewarding, given the openness of the people I’ve met. At the same time, I was surprised by how long and challenging the task of interweaving all those stories in the book ultimately was. That was the hard part, but rewarding in its own ways.

BB: Did you have literary models for that task of interweaving?

CB: THERE ARE NO CHILDREN HERE, FAST FOOD NATION, and FACTORY GIRLS are journalistic accounts of important economic, social, and policy questions, but beautifully and poignantly embedded in the lives of ordinary people. We sociologists sometimes write leaden, dull, and jargon-filled prose. If we are to be relevant, we ought to aspire to Kotlowitz, Schlosser, Chang, and other investigative journalists who tackle important and timely topics in an engaging way. UNBROKEN, THE PERFECT STORM, and THE IMMORTAL LIFE OF HENRIETTA LACKS were also inspirations.

BB: BOOM, BUST, EXODUS covers a grim subject, but do you consider it a grim book?

CB: Honestly, I am drawn to grim topics. I think it’s important we face up to the causes and consequences of growing inequality and the erosion of the middle class in America, what is driving the immigration crisis, and so on. That said, the experience for me has been anything but grim. I was absolutely inspired by some of the people with whom I spoke—people who are carving big lives out of diminished offerings in Galesburg. I was inspired by the sacrifices that parents made for their children in Reynosa. Even when the circumstances are grim, there is grit, resilience, and growth—especially when the circumstances are grim, perhaps.


BOOM, BUST, EXODUS is in stock now.

Boom, Bust, Exodus: The Rust Belt, the Maquilas, and a Tale of Two Cities Cover Image
$29.95
ISBN: 9780199765614
Availability: Not On Our Shelves. Usually arrives in 1-5 Days
Published: Oxford University Press, USA - January 2nd, 2015

Q&A: Chang-rae Lee

At the beginning of 2014, some Brazos employees decided to begin an in-store book group. Our inaugural choice was Chang-rae Lee’s newest novel, ON SUCH A FULL SEA. The reviews were glowing, and for many of us, it was the first opportunity we’d had to read anything by Lee, a highly regarded and popular author.

We loved this novel, a fantastic, literary, and dystopian story with a complex heroine at the center. ON SUCH A FULL SEA was an ambitious departure from Lee’s previous books like NATIVE SPEAKER and THE SURRENDERED, which were grounded in reality. Lee, however, had not abandoned the themes of identity, race, exclusion, and the anxiety inherent in social upheaval, subjects that all resonate strongly in ON SUCH A FULL SEA. It’s a novel that bristles with tension, written in Chang-Rae Lee’s trademark elegance.

I asked Lee some questions about ON SUCH A FULL SEA.


Brazos Bookstore: ON SUCH A FULL SEA is a departure from your earlier books. Was changing genres a challenge for you; did it ever feel like you were taking a risk?

Chang-rae Lee: To be honest I didn't feel as though I was writing in a different genre, for other than the speculative aspects of the story, it seemed to me that I was writing as I always do, considering language and character and action in much the same ways as in my previous novels, which is to say both rationally and irrationally. Perhaps the biggest challenge was the beginning, when I really did have to institute a 'future' world. But after that, well, I just followed the narrative and laid it down as always...

BB: Fan is such a strong yet sympathetic character; she seems fully realized. Was she a challenge to write, or did she come easily?

CL: I would never say she came easily, but I did 'see' her very clearly, right from the start. That wasn't the case with many of my previous protagonists, who seemed to have hidden mysteries throughout their creation. But Fan I saw in high definition, as it were; the question and mystery was not about her but within the "We" who tells her story, and how the "We" would tell and mull her exploits.

BB: In the novel, the “future” has strong ties to our present-day landscape (culture, race, the environment), as if it would only take a few steps (and perhaps a few decades) to reach that place. Is making a plausible setting important?

CL: Indeed it is, but I think any setting--whether 'realistic' or 'futuristic' or 'dystopian'--is only believable if the people within the setting are believable in what they desire, how they conduct themselves, what they believe in and value, all within the given context. So it's not about 'staging' things faithfully so much as unearthing what makes these particular people in this particular context tick.

BB: There must be a plethora of possibilities when a writer decides to invent his/her own world. Was it difficult to decide what worked in this dystopian future and what to leave out?

CL: I decided very early on that I wasn't interested in filling out every last detail of this new 'world'--I had no desire to write that kind of detailed 'manual' or 'constitution', but to provide only enough to erect a contextual architecture, if you will, for the inhabitants, who only live in their time and can see no others.

BB: You have no idea who we'll talk to for the next Brazos Q&A, but never mind that: What should we ask him/her?

CL: What keeps you up at night?


Please join us Wednesday, January 14th, to see Chang-rae Lee read from this remarkable novel and sign books after.

Other Duties As Assigned: The Asia Society Texas

By Annalia Linnan

Dark hall, small stage, a woman singing about persimmons, Nick Flynn reading a poem about his dead father and Lou Reed, a montage of adults and children holding AK-47s: where am I? The Asia Society of Texas this time last year, my first visit. Now: lime green paper lanterns dot the trees. The sideways Texas rain. Locked out. I push the buzzer near the front entrance and a man pokes his head out to ask me what I need. “I'm here to meet with Evan Wildstein,” I say.

When Wildstein--Director of Performing Arts and Culture--appears, he wears a tie but not a jacket and holds a coffee mug. The public is not here yet: all around us, things are being broken down, moved, cleaned, or otherwise reset from the night before. We go upstairs to escape the hubbub, but the normal setup is in shambles: no furniture, no people, just a display filled with giant rocks. Wildstein sighs and ushers us back downstairs. We settle at the only available place: exactly where we started, a nook near the front of the building with a small round table and chairs too short to match. On Wildstein's side: a small journal and the aforementioned coffee mug of beans that he tells me run twenty dollars a bag. It’s 10 A.M., and this is my challenge: to get Wildstein to give me a version of the Asia Society that I cannot find on a website.

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Though the building is young (it will be three years old this April), the Asia Society Texas Center has actually been part of the Houston tapestry since 1979, even before it had a permanent home. It is one of eleven Asia Societies throughout the world. Founded in 1956, the first Asia Society in New York began as a policy institute. Wildstein waxes on about these things: how the Rockefellers could sense, even in the 1950s, that “the coming age of Asia, or the Asian century, [would become] a very important player in the world dynamic.” Centers appeared as needed, but the Asia Society Texas distinguishes itself in its diversity, flexibility, and constant expansion.

“We do so much,” says Wildstein. “We are not just a museum space, nor are we just the policy institute anymore.” Often, Asia Society will rent out its building for holiday parties or weddings, and guests will “not even know that throughout the year you can come to upwards of 150 programs focusing on everything that includes Asia.” And when Wildstein says Asia, he means all of it. Recalling his first impressions of the Asia Society, Wildstein said, “I thought when I came here that the Asia focus would be limiting--but for us, the definition of Asia is fifty-two countries, from Iran to the Oceanic.” Think of it this way: if they covered one country per week, they would have the whole year programmed.

Still, balance is important, both in the types of programs offered and distribution of the work. While a thirty person staff is certainly more nimble than the six or seven that managed the Asia Society before Wildstein moved to Houston, there are still only one or two people per department. Wildstein says this makes for a sixty- to seventy-hour work week on average--and that's when they don't have programming. Not one to complain, he explains such challenges come with the territory: “You know, in any job description, that last line: 'Other duties as assigned?' That’s the dictum we live by in small non-profits.”

He laughs, but I believe him. At a smaller institution that must stand up to monoliths such as The Menil Collection and the Museum of Fine Arts Houston--world-renowned collections that boast staff numbers in the hundreds--there is no room to pretend someone else will do your work for you. Take, for example, when the Asia Society invites Brazos Bookstore to come sell books at its events on its behalf: it is not Wildstein’s assistant who welcomes me with my two-wheel dolly full of boxes. It’s Wildstein himself.

Maybe this says it best: in the middle of our chat, the custodial staff comes through and the sound clicks so loud against the concrete that we are forced to stop. Wildstein puts up his index finger and waits.

“That's the joy of this building,” he says. Work never stops.

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In its thirty-five-year history, the Asia Society has never been a stranger to new work. It has partnered with the Houston Grand Opera to premiere at least four new Asian chamber operas and hosted two new pieces by local dance legend Dominic Walsh. Its recent Indian deities exhibit was the first time Manjari Sharma and Abhishek Singh have ever been on view together. But the Asia Society has never initiated its own original creation, and that’s something Wildstein wants to change. This summer, the Asia Society and the Houston Ballet will co-create a project named Tsuru that focuses on the Japanese crane wife folk tale.

“I'm hoping to weave that spirit of 'new stuff'--commissions, new productions, new things--[into our regular programming] one to three times every year,” Wildstein said. “And that could be commissioning a composer to write a chamber piece that we could partner with some of the local musicians on, or that could be commissioning an author to write a new book. We have a lot of opportunity.”

However, Wildstein stresses that what makes opportunity possible is partnership. And not just having partners available, but that “everyone just seems really interested in working together in a way here that I don't find in other big cities.” As a transplant from New York, Wildstein has enjoyed “trying to see how those little moving parts work together.”

“That's what's going to make or break the success of the Asia Society,” Wildstein says. “How much people are willing to give, to work with us.”

Lucky for the Asia Society, Wildstein makes giving easy. When I push stop on the recorder, he asks me about this article. He asks about writing and music and how each inspires me, and he wants to know specifics. This is the part I'm supposed to skip for this interview, yet it’s the part that shows me Wildstein views his position as more than just a job: he sees himself as a catalyst for change. If that’s not the essence of the Asia Society, what is?

Behind Our Style

Over recent years, there has been a rise in blogs and books surrounding our individual styles. What has been missing are the reasons behind our style choices. Heidi Julavits--along with two collaborators, Sheila Heti and Leanne Shapton--decided to tackle the reasons behind individual style choices by sending a fifty-item questionnaire to thousands of women.

This became WOMEN IN CLOTHES, a book full of personal voices from around the world.

This isn’t your typical fashion book with this season's trends, or a retrospective of past styles and their influences. It’s also not a do and don’t list. WOMEN IN CLOTHES is something more: it gives the reader insight into women’s style choices and the story behind them. It strips away the fashion language and gives the reader stories--some funny, some personal, some empowering. After reading each woman's story, you will start to see your own choices in a different light.

You can read WOMEN IN CLOTHES cover to cover, or dip in and out of it casually. Either way, you will leave with wonderful stories and insights about fashion, and you will want to start a conversation with others about the choices we all make every day in our individual styles.


Wednesday, November 19, please join WOMEN IN CLOTHES contributor Sasha Plotnikova at Leap for a clothes swap. Bring with you items from your closet that aren’t working for you (but in good condition) to trade with others at the swap! Anything remaining at the end of the night will be donated to Dress for Success and Goodwill.

Brazos Bookstore will be on-hand to sell copies of WOMEN IN CLOTHES. Pre-order your book and we’ll deliver it to Leap for you on November 19.

Women in Clothes Cover Image
$30.00
ISBN: 9780399166563
Availability: Not On Our Shelves. Usually arrives in 1-5 Days
Published: Blue Rider Press - September 4th, 2014

Indie Spotlight: Open Letter Books

Easily my favorite discovery in the last two years, Open Letter Books is a non-profit publisher of literature in translation. I first read THE DARK by Argentine novelist Sergio Chejfec and was blown away, mesmerized. I went backwards and read every Chejfec novel published by Open Letter, including MY TWO WORLDS and THE PLANETS. Chejfec’s books are very insular and meditative with echoes of W.G. Sebald. Another title is NAVIDAD AND MATANZA by Chilean Carlos Labbé, a small and experimental novel with hints of Bolaňo that manages in ninety-two pages the breadth of a large novel. I’m currently reading Rubem Fonseca’s THE TAKER, a short story collection brimming with the violence and humor of life in Rio de Janeiro.

Open Letter capped 2014 with A THOUSAND FORESTS IN ONE ACORN an inexhaustible, nearly endless anthology of Spanish fiction. It includes interviews with twenty-eight authors as diverse as Carlos Fuentes to Esther Tusquets, with each explaining the sample of their writing they believe best exemplifies their body of work.

Open Letter books are always wonderful to hold with gorgeous and minimal book designs that somehow speak to the work. I can’t begin to do justice to all the great books Open Letter is publishing and the many languages and countries they’re translated from. With publishing houses like Open Letter, there is hope in the world for serious and quality literature in translation. Open Letter is a treasure.

Staff Pick Logo
The Dark Cover Image
By Sergio Chejfec, Heather Cleary (Translator)
$14.95
ISBN: 9781934824436
Availability: Not On Our Shelves. Usually arrives in 1-5 Days
Published: Open Letter Books - December 11th, 2013

My Two Worlds Cover Image
By Sergio Chejfec, Margaret Carson (Translator), Enrique Vila-Matas (Introduction by)
$12.95
ISBN: 9781934824283
Availability: Not On Our Shelves. Usually arrives in 1-5 Days
Published: Open Letter Books - August 16th, 2011

The Planets Cover Image
By Sergio Chejfec, Heather Cleary (Translator)
$13.95
ISBN: 9781934824399
Availability: Backordered
Published: Open Letter Books - June 12th, 2012

Navidad & Matanza Cover Image
By Carlos Labbe, Will Vanderhyden (Translator)
$12.95
ISBN: 9781934824924
Availability: Not On Our Shelves. Usually arrives in 1-5 Days
Published: Open Letter Books - April 15th, 2014

The Taker and Other Stories Cover Image
$15.95
ISBN: 9781934824023
Availability: Backordered
Published: Open Letter Books - November 15th, 2008

A Thousand Forests in One Acorn: An Anthology of Spanish-Language Fiction Cover Image
$19.95
ISBN: 9781934824917
Availability: Not On Our Shelves. Usually arrives in 1-5 Days
Published: Open Letter Books - September 2nd, 2014

#WritersRead — Pamela Moses

by Mary-Catherine Breed 

Pamela Moses’s debut novel, THE APPETITES OF GIRLS, tells stories about four college suitemates--Ruth, Fran, Opal, and Setsu--through the lens of their relationships with food. It is not a light romp about girlhood and finding yourself. It hurts, bruises, and frustrates. Ruth is trapped in excruciating dinners with her Jewish parents. Francesca starts binge eating to escape the pressure of Upper East Side expectations. Meanwhile, Opal runs into trouble when she tries to emulate her resort-hopping mother's glamour and wiles. And then there's Setsu, whose adopted brother has taken over the household, including Setsu's food portions. Through these characters, Moses allows insight into some of the truly devastating and often subtle pressures placed on women during all stages of life.

We talked to Moses about the struggles of young women, the importance of college roommates, and the grounding properties of writing in this installment of #WritersRead.


Brazos Bookstore: This book’s cover, title, and premise suggest that it could have YA crossover potential. However, the book is often adult in subject matter. How do you feel about the potential for teens to read THE APPETITES OF GIRLS?

Pamela Moses: Each young woman’s struggle in the book—to find her own strength and her true self—is one with which YA readers of all ages would identify, I think; but I agree that some of the subject matter is a bit too adult for young teen readers. While families and readers will make individual decisions about when the book might be introduced, my feeling is that the book is appropriate for older teens and beyond. My son is twelve and my daughter is ten, and I cannot imagine allowing them to read the book in its entirety for quite some time, which, of course, has only resulted in piquing their curiosity!

BB: How do you hope female readers approach this book? Male readers?

PM: A bookseller once wrote of the book that it “will resonate with all females be they fifteen, fifty or ninety—and it will help men to better understand them.” This is my hope. Women in particular, I feel, will recognize the relationships the characters have with food and body image, with their mothers, with men; but the journey of the four friends in the book to overcome difficult circumstances, to overcome self-doubt in order to claim happiness and the best in themselves is, I believe, part of a universal human experience, and what each of us—whether female or male—is working towards. And so, in this way, I hope readers of both sexes will connect to the book.

BB: There’s a lot of honesty in this book about the unique—and often painful—experiences of women. Which other authors do you recommend for a similar voice or perspective on girlhood?

PM: I would recommend Sheila Kohler’s books and short stories. I have learned so much from her. She captures so poignantly the conflicting emotions of adolescence. I would also suggest Rebecca Rasmussen’s THE BIRD SISTERS and some of Jumpha Lahiri’s stories, especially “Once in a Lifetime” from her collection UNACCUSTOMED EARTH, as well as books by Amy Tan. As I began work on THE APPETITES OF GIRLS, I was inspired by Amy Tan’s THE JOY LUCK CLUB and by the vulnerabilities and secret longings of her girl characters.

BB: Did you have suitemates in college? Tell us about them! Are you still upholding a lifelong friendship pact like the girls in the book?

PM: I did have suitemates in college, and during my senior year I shared a house off campus with nine other women! I was fortunate to have wonderful roommates and housemates in college. A number of them remain some of my closest friends today. We are scattered across the country now but do try to reunite when possible.

Though we never made any official pact of friendship, we were family for one another in those college years—many of us away from home for the first time. Each of us was finding who she was, who she was meant to be. It was an exhilarating time filled with so much possibility but not without its share of anxiety and heartache. So we, as all college roommates do, observed and lived with the best and worst in each other—a potential recipe for disaster, but in our case, thankfully, these shared experiences led to lifelong friendships.

BB: You have no idea whom we’ll talk to for the next Brazos Q&A, but never mind that: What should we ask him/her?

PM: When did you first tell yourself you were a writer? When did you first tell other people?

BB: Speaking of which, María Dueñas wants to know: Why do you write?

PM: I write because when I do, I feel I am most fully myself. Writing grounds me and comes from an inner need to create. If I could not write, I am afraid I would be turning out embarrassingly bad paintings or terrible pottery!


Pamela Moses visits Brazos Bookstore on Thursday, November 20 at 7PM. Reserve your signed copy today!

Staff Pick Logo
The Appetites of Girls Cover Image
$26.95
ISBN: 9780399158421
Availability: Hard to Find
Published: Amy Einhorn Books - June 26th, 2014

Indie Spotlight: New Directions

by Mark Haber

 

New Directions was founded in 1932 by James Laughlin, due, in large part, to the insistence of Laughlin’s friend, Ezra Pound. To my mind, it is the quintessential American independent publisher. From the start, the focus was on brave and original works of literature--and it still is. Its aesthetic, from book design to choice of author and title, is peerless. During the Second World War, Alvin Lustig designed many of New Directions’ book jackets, using a modernist abstract style that became, for many years, the publisher’s hallmark. Though its designs have changed, its list of releases is still as varied and bold as the 20th century books it published.

 

Who was Vladimir Nabokov’s first American publisher? New Directions. Who first published SIDDHARTHA in America? New Directions. The list--which includes Henry Miller, Dylan Thomas, Tennessee Williams, Nathanael West, and Javier Marías--goes on and on.

The influence New Directions has had on me as a reader cannot be put into words. Through New Directions, I discovered Louis Ferdinand Céline, the horribly vulgar genius who mixed the argot of the Parisian slums with the poetry of madness and created something altogether new. One doesn’t read Céline as much as experience Céline. His first two novels, JOURNEY TO THE END OF THE NIGHT and DEATH ON THE INSTALLMENT PLAN, made me realize the importance of literature in translation, something that has become a lifelong passion. 

In 2008, I discovered the author that, for me, would soon become larger-than-life: Roberto Bolaño. Who was America’s first publisher of Bolaño? You guessed it. Bolaño’s first work to appear in America, BY NIGHT IN CHILE, is a perfect example of Bolaño’s unparalleled style, command of language, and powerful imagination. In recent years, New Directions has been a wellspring of Spanish and Latin American writers, from Enrique Vila-Matas to Cesar Aira, from Clarice Lispector to Horacio Castellanos Moya. These writers bring an amazing diversity of voices and styles, as well as a sense of place, to the literary canon. 

Today, I can peruse any bookstore and spot New Directions’ familiar colophon on the spine immediately. That emblem is a sign of quality, of a book that has been thoughtfully read and curated, and which speaks to the tradition behind this singular and iconic publisher.

 

A Chat on the National Book Awards

It’s awards season for the book world, and the booksellers of Brazos are keeping a close eye on the races for the big ones--like the National Book Award, the winner of which will be announced in two weeks. When we like a book, we REALLY like it, so as you can imagine, we’re watching this one closely, and have undeniable favorites. Liz, Ben, and Keaton had an impromptu chat around the counter one evening this week about the fiction shortlist for the National Book Award.

Liz: Ben, who are you rooting for?

Ben: I'm rooting for Marilynne Robinson and LILA. She's my bet. There's a patience in her fiction I admire a lot, that you don't see very much of these days. I think her books would be hard to publish if she weren't Marilynne Robinson, because they're sort of slow, and languid. (...Are you transcribing this? ...Did you just transcribe that?) Keaton, do you have feelings?

Keaton: I’m abstaining from feelings because no one gave ORFEO [a longlisted title by Richard Powers] any love. [laughs] ALL THE LIGHT WE CANNOT SEE is probably the front runner. But I wouldn't be surprised if they gave it to Marilynne Robinson for her whole trilogy.

Ben: But, you know, they’ve given it to some dark horses: Jesmyn Ward [for SALVAGE THE BONES], THE GOOD LORD BIRD. Who’s your dark horse?

Keaton: Oh, STATION ELEVEN, definitely.

Ben: And I know SALVAGE THE BONES and THE GOOD LORD BIRD had some cultural heaviness to them, too. What’s the cultural heaviness of STATION ELEVEN?

Liz: I’d say that STATION ELEVEN is controversial, almost, among literature these days, in that it doesn’t think the modern world is completely irredeemable and gross. It thinks very fondly about some of the conveniences of the modern world, the smaller stuff that most fiction thinks is, y’know, kinda dumb. The motto of the Traveling Symphony, and one of the main characters’ favorite quotes, is “Survival is insufficient.” That’s a Seven of Nine quote from Star Trek: Voyager. And it is treated with due reverence. Which is kind of a controversial stance in mainstream literature, that those forms of art are acceptable.

Keaton: It’s more optimistic.

Liz: Yeah, and that seems sort of unpopular these days.

Keaton: [laughs]What does it say about our cynical, cynical world, that optimism is a faux pas?

Liz: [laughs] Exactly. STATION ELEVEN is more about the collective, how we’re better off together.

Ben: So you think that ties in with the zeitgeist right now?

Liz: It’s hard to articulate. Especially when I know the tape is on. [laughs] I think it’s partially--the backlash to the backlash against society right now, saying that there are still some good things about it. It has great things to say about how people as a whole are all responsible for our cultural legacy, even in the silly choices we make day to day about something as simple as reading comics.

Keaton: It makes me think about how art programs are being cut from schools, because people think they aren’t necessary. When, in this book, it seems to be the only necessary thing.

Liz: Very much. It has a great stance on art being important.

Ben: Do you think the discourse about the book that’s swirled around it--whether it’s “genre” or not--will help the book or hurt it? Or is it just time for that sort of book to win?

Liz: I think it’s hurting it--because it’s not actually hard genre, or science fiction. It’s speculative fiction, in that it considers not-the-world-that-we-live-in, a world beyond. Don’t get me wrong, I love science fiction! I would be happy to give it the label; I’m just not sure it’s accurate. But I think science fiction is far more literary than most people give it credit for being, and STATION ELEVEN does what good science fiction does: it interrogates our own world through a removed lens. But I think it’s being hurt because a lot of people are writing it off because of this whole genre discussion, because so many people still dismiss genre fiction out of hand.

Keaton: And in a time when so many literary writers now are playing around with genre a lot more. It’d be a nice coup d’etat for genre!

Liz: One of the reasons I’m rooting for it!

Ben: It feels like Michael Chabon’s Pulitzer Prize winner [THE AMAZING ADVENTURES OF KAVALIER AND CLAY]; it was about comic books, sort of, but more than that, it had that sweep of history that important literature has.

Liz: Exactly--it was about the world. And STATION ELEVEN is so much about the world, and people’s individual histories and choices, and their relationships to art. That is SO literary.

Ben: So about that sweep of history, then--Keaton, you’re pulling for REDEPLOYMENT because…?

Keaton: I think it’s the best piece of war literature for our contemporary times--and I loved [similarly-themed 2012 finalist] THE YELLOW BIRDS. With REDEPLOYMENT, more than half the short stories don’t even take place on the battlefield. A lot of them are about soldiers before they leave, or after they come home, and how they deal with that. It has a whole bunch of different perspectives--it destroys the idea that there’s only one type of war experience you can have.

Ben: Does it have that same poetic feel THE YELLOW BIRDS had?

Keaton: It’s definitely not as lyrical; it’s more dirty realism.

Ben: Were there any stories that really struck you?

Keaton: Oh, the whole book really struck me. But yeah, there’s a few--there’s one story about a couple of returning young vets, one of whom is very badly injured, in a bar in Brooklyn. And they’re talking to a very liberal Brooklynite girl who wants their stories for an anti-war play, to express soldiers' experiences, but it has to have a political slant. And it’s interesting because they don't agree with her on anything--the story is very much about how there are things about war that cannot be communicated if you haven’t actually experienced it.
And then there’s a story about an artillery team--they fire on an enemy location, miles and miles away, that they’ve never seen. They know that they’ve got multiple confirmed kills--of people they've never seen, and will never see. And one of the younger guys on the artillery team can't really wrap his head around it. So he goes to the morgue to see if he can find out what happened, and if he can see the people he killed. And it’s about his experience--not about the fight, or the combat. Well--there are a few combat scenes. But there’s no real combat in REDEPLOYMENT. It’s more ruminative.

[Store manager Jeremy drifts past the counter.]

Ben: So, Jeremy, what are your thoughts?

Jeremy: On what?

Ben: On the National Book Award fiction list. Who’s worthy?

Jeremy. Oh. It's awards season. It's not about who's worthy. [laughs]

So who do you think is worthy, Houston? The National Book Awards will be announced November 19!

An Unnecessary Woman Cover Image
$16.00
ISBN: 9780802122940
Availability: Not On Our Shelves. Usually arrives in 1-5 Days
Published: Grove Press - November 11th, 2014

All the Light We Cannot See Cover Image
$27.00
ISBN: 9781476746586
Availability: Not On Our Shelves. Usually arrives in 1-5 Days
Published: Scribner Book Company - May 6th, 2014

Staff Pick Logo
Redeployment Cover Image
$26.95
ISBN: 9781594204999
Availability: Not On Our Shelves. Usually arrives in 1-5 Days
Published: Penguin Press - March 4th, 2014

Lila Cover Image
$26.00
ISBN: 9780374187613
Availability: Not On Our Shelves. Usually arrives in 1-5 Days
Published: Farrar Straus Giroux - October 7th, 2014

Station Eleven Cover Image
$26.95
ISBN: 9780385353304
Availability: Not On Our Shelves. Usually arrives in 1-5 Days
Published: Knopf Publishing Group - September 9th, 2014

Announcing the Brazos/AFA Collaboration Contest

Brazos Bookstore and American Festival for the Arts (AFA), Houston’s largest non-profit music education provider for kids, are teaming up to develop a new musical/literary work celebrating AFA’s twentieth anniversary serving kids throughout Southeast Texas.

Writers from all backgrounds and working in any genre are invited to submit a short work of no more than 500 words on the theme "Sounds, and sweet airs, that give delight and hurt not.” The winning selection will be used as the basis and/or inspiration for a musical composition by award-winning composer Hugh Lobel that will be premiered at the AFA Collaborations Concert (two performances in May and July). Dr. Lobel is an AFA alumnus who is being commissioned for this special work to mark AFA’s twentieth anniversary.

There is no submission fee.

The winning author will be invited to read his/her work at the performances, and will also receive $500.

The Judge


Ben Fountain, acclaimed author of Billy Lynn’s Long Halftime Walk (winner of the National Book Critics Circle Award, finalist for the National Book Award). We wanted a judge whose writing reflects the spirit of Texas, but who isn’t closely associated with Houston (as to remove the possibility of the judge recognizing a particular submission or the style of a submitter). Ben Fountain, a Dallas resident who represents Texas literature at its best, seemed like a no brainer.

 

The Guidelines


* You must live in Houston to submit.
* One submission is allowed per person.
* All submissions must be previously unpublished.
* There are zero genre/form restrictions. Send us flash fiction, poetry, nonfiction, lyric essays, lists—whatever, so long as the submissions are made from words.
* No submission can be longer than 500 words. Submissions that exceed this word length will be disqualified.

 

 

 

How to Submit


Email your submission in the body of an email to ben@brazosbookstore.com. You may include a cover letter, but it’s not necessary.

The Deadline


The deadline for submissions is December 15, 11:59 p.m. Winners will be announced on January 1, 2015, on the websites of Brazos Bookstore and AFA.

Good luck!

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