publishing

Little Woman in Blue, a novel of May Alcott

If you’ve read Louisa May Alcott’s Little Women, you no doubt remember Jo Marsh’s coddled, self-indulgent little sister, Amy, who trades away her artistic dreams for the promises of marriage. Little Woman in Blue is a refrain of Amy’s story, but with a twist: Author Jeannine Atkins calls Louisa’s character by her real name—Abigail “May” Alcott—and tells her story true.

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Abigail “May” Alcott Nieriker (Image via WikiCommons)

In the 19th century, most female artists eventually exchanged their professional ambitions for marriage proposals, and then plowed their creative urges into homemaking tasks and raising children. But while May Alcott has a frothy side (which no doubt irks her older sister), she is a headstrong woman with loftier goals: Artist. Wife. Mother. Wealth and professional acclaim, when her every wish is granted. In lively passages, Jeannine Atkins describes the myriad obstacles that May encounters on this “road less traveled.”

Over time, May’s persistence begins to pay off. She earns the begrudging respect of her older sister, fattens her art portfolio, and is ultimately granted exhibition rights at the esteemed Salon in Paris, where her paintings are displayed alongside some of the most famous artists of her day. Her dreams of marriage and family are eventually realized, when she married Ernest Nieriker and gives birth to a baby girl. There’s more to the story, of course, but you’ll find no spoilers here.

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May Alcott Nieriker’s ‘La Negresse,’ exhibited at the 1879 Paris Salon (Image via WikiCommons)

In this authentic, if fictionalized, biography, Jeannine Atkins breathes new life into one of America’s favorite literary classics. Alcott aficionados will find much to love between its covers, as will readers for whom this is a first introduction to the sisters in Little Women. Rich imagery. Relatable characters. Settings that are true to an era, and a story that celebrates May Alcott’s life, aptly published during the 175th anniversary of her birth year.

Within the first few pages, I became friends with “the little woman in blue.” I embraced her faults and virtues, railed against her torments, and celebrated her brave, if sometimes misguided, efforts to strike a balance between her artistic and personal ambitions. Though I was sorry to reach the end, I will remember May’s story, always.

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Little Woman in Blue: A Novel of May Alcott (Cover image via Jeannine Atkins’ website)

 

This review is based on an Advance Review Copy (ARC) of Little Woman In Blue (SheWrites, September 2015), provided to me by the author. I was awestruck when I read one of Jeannine Atkins’ earlier books, Borrowed Names, and I’m a big fan of her subsequent works. Though we live on opposite coasts, our shared sensibilities have sparked an enduring friendship. Even so, I’ve done my level best to write an unbiased review of this book, in hopes that May Alcott’s story will reach—will touch—a broader audience of readers.

#TBT: My Writing Notebook (Looking Back and Moving Forward)

For who will testify, who will accurately describe our lives if we do not do it ourselves?
–Faye Moskowitz, And the Bridge is Love

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My friend Emjae created this mock book cover for me a few years back, as a loving gesture and gentle prod. “Keep writing,” she told me. “You have a story to tell, a song to sing.” I tucked one copy into an antique church bulletin display box, and slipped another into the clear front pocket of my writing notebook. I’ve spilled many tears drafts onto the page, emptied and replenished several notebooks since. Lucky me, I’m represented now by two, top-notch agents at D4EO Literary Agency, and CAN I GET A WITNESS? is under consideration by several editors. I’m so looking forward to that magical day, when the contents of my writing notebook become a published book, graced with a reinterpreted cover image!

Day 6 of Susannah Conway’s #AugustBreak2015 photography challenge. In case you haven’t yet guessed, the word of the day is notebook. In this overlaid image, my father’s revival tent serves as backdrop. I’m standing in the foreground, facing my future.

5 Things I Learned About Judy Blume (and the one thing I wish I had)

Judy Blume strides across the stage at Aratani Theatre, flashes of teal polish visible through her peep-toed pumps. Her voice is strained by a lingering cold, but at 78 years young, she’s nowhere near ready to slow down. Her hands flutter, and she talks a mile a minute. She’s ready with an answer, quick to laugh.

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Judy Blume at Aratani Theatre, as part of ALOUD’s author series

The audience basks in Judy’s energy, mirrors back to her that radiant smile. It’s ladies night out, with a few exceptions–fans of all ages who’ve come to hear about her latest book release, and to reminisce about her prior works.

It’s hard to pigeonhole the author who helped give birth to the Young Adult genre; and by no means would I want to understate the importance of any one of her beloved characters, all of whom helped redefine what it means to live a ‘normal’ childhood. But here are five things I learned about the inimitable Judy Blume last night (and the one thing I wish I’d learned but didn’t).

1. Judy kept a diary as a young girl, same as the main character in her quasi-autobiographical novel, ARE YOU THERE, GOD? IT’S ME, MARGARET. And now that she’s a writer, she creates what she calls “security notebooks.” Chock-full of research findings, character traits, and setting descriptions, they keep her from feeling alone when she faces a blank screen.

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2. About the inevitable setbacks, Judy says, “I was devastated by my first e—um, rejection.” She claps a hand over her mouth, as if to stifle a giggle. “Oops, I was going to say erection.” There’s a short pause, to comedic effect, and then she recites that Highlights Magazine refusal, word for word. “Does not win in competition with others.” The audience erupts in laughter, and Judy grins. #delicious irony

3. Judy’s latest novel, IN THE UNLIKELY EVENT, is based on a trio of plane crashes that occurred in her hometown (Elizabeth, New Jersey) during the 1950s. Inspiration struck her in an unlikely setting, complete in concept and out of the blue. She was listening to author Rachel Kushner talk about her mother’s childhood experiences in Cuba during the 1950s, and boom! There it was. Plot. Structure. Characters. Setting. She knew the storyline, beginning to end. “It was a magical moment,” Judy says. “It never happened to me before, and I don’t know that it’ll ever repeat itself in my lifetime.”

4. Judy Twitters up a storm, famously so, but pangs of nostalgia sometimes hit her. “I still have my IBM Selectric typewriter, “ she says. “Sometimes I open the closet door and whisper, “I still love you.”

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Judy Blume, in conversation with Alex Cohen

5. About IN THE UNLIKELY EVENT, Judy says, “ I think this is the one I was meant to write , and that maybe all the other books leading up to it were just practice.”

My only regret, as an avid fan who now shares her profession, is that we didn’t get any deep insights into Judy Blume’s writing process. Successful (and beloved) as she is, surely she could spill a few secrets? The moderator asks, as do several audience members. But true to her belief that “writing is a skill that can’t be taught,” Judy doesn’t proffer much advice. ““Dialogue is what I do best, but I honestly don’t know how it happens. It’s whatever works.”

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An aspiring author approaches the mic, asks the same question from another angle. Judy seems genuinely perplexed. “You sit there, get the critic and censor off your shoulders, and just write…And you read, read, read.” When pressed for a more detailed answer, Judy explains that she sits at her computer for 2-3 hours, takes a two-mile hike and then treats herself to a tasty breakfast.

“Just a bread crumb more?” someone wheedles. Judy’s response: “You have to have determination… just sit there and try to let it happen.”

It’s not much to go on, but hey, it’s the inimitable Judy Blume! So we cling to every word in the moment, scribble them into our notebooks for later reflection, and honor her wildly successful, singular process by creating one of our own.

 

NOTE: This program was sponsored by the Library Foundation of Los Angeles. Flash photography was verboten, but we were allowed cameras in this venue. Hence, these pictures, all my own.  Judy’s words, which I’ve placed in quotation marks, aren’t verified against official transcripts, but they come as close to her original statements as I could possibly remember/write.

Can I get a witness?

I’m thrilled beyond words to announce that I’ve just accepted an offer of representation from Bob Diforio and Mandy Hubbard of D4EO Literary Agency. Lucky me, to have my memoir jointly repped by such a powerhouse team!

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Read this, and you’ll understand just how fortunate I am to be working in tandem with agents of their caliber. Soon, very soon, they’ll be submitting CAN I GET A WITNESS? to publishers. Oh happy day!

How will these next few chapters unfold? Haven’t a clue, but Nancy Drew is on the case! If you wanna ride shotgun, just subscribe to my blog and  you’ll get email notices whenever I post updates on my adventures. While you’re at it, please join me on Facebook and Twitter.

In the Author’s Tent: Jeanette Larson and Adrienne Yorinks

Longtime blog readers know a little about my obsessionfascination with hummingbirds. But you don’t have to be a bird enthusiast to fall head-over-heels in love with HUMMINGBIRDS: Fact and Folklore from the Americas (Charlesbridge, 2011). It’s an enchanting tapestry of facts and folklore, woven together with fabric art…a book that invites you to linger, and then return to again and again.

Here’s a handful of inside images, plus pictures of co-authors Jeanette Larson and Adrienne Yorinks:

As a special mid-week treat, I’ve invited Jeanette and Adrienne to a Q-and-A session in The Author’s Tent. The teakettle’s whistling, and we’re surrounded by comfy chairs…please join our conversation! 

Oh, and before I forget: Charlesbridge is offering five (count ’em, 5!) copies of HUMMINGBIRDS as contest give-aways! (*Contest particulars below the cut, immediately following the interview.) If you already own this book, you can give your prize to a special friend. But then again, Mother’s Day is right around the corner…

Melodye: Let’s start by pretending, for just a minute, that we’re doing a live interview via Twitter. Jeanette, would you please tweet a 140-character summary of HUMMINGBIRD, followed by a second tweet that describes its audience?

 

Jeanette (JL): Facts about fascinating creatures found only in the Americas mixed with pourquoi tales from native cultures. Beautiful fabric art adds interest.

 

For “bird brains” of all ages and anyone who enjoys learning.

 

Some people think of hummingbirds as spiritual totems; still others admire their physical traits,  including but not limited to their ephemoral beauty. Are you drawn to hummingbirds for any special reason(s)?  

 

Jeanette Larson (JL): They are so tiny but so powerful, delicate yet strong and they fascinate me. I don’t know that I see them as spiritual totems, although I know several people who do think, or like to think, that hummingbirds are spiritual representations of a family member or loved one. At programs and signings these stories are some of the more poignant.

 

Adrienne Yorinks (AY): The first hummingbird I ever saw was in North Salem, New York. I was sitting on my deck after planting beautiful flowers and the hummingbird buzzed my face and sort of rested a minute on my shoulder. I had no idea what it was. I had never heard or seen any of them before and I was enchanted. I thought it was magical. The first thing I thought of was, “this is Tinkerbell.”  It was a day that I remember so clearly because it was one of those moments in life where I was feeling a bit sad and reflective and the hummingbird came to me. I felt loved and protected in a way. I have always been drawn to animals. In a spiritual way, they have been my mentors, my loves, my best friends and protectors. A year before my encounter with the hummingbird, I was sitting outside in a different garden, reflecting, and a butterfly landed on my hand and gazed at me. It is a wonderful gift when an animal seeks you out. This has happened a lot in my life and it makes me happy.

 

Your book is unique in that it stitches together fact and folklore–in seamless fashion, I might add. J  When it came time to select your materials, how did you decide what to keep and what to cut?

 

JL: I can’t talk about selecting fabric or deciding which illustrations to use, if that is what you mean by material J but we did have a lot more information than we could use. The editor handles some of the suggestions for cutting, asking us to omit information that provided details that were extensive or suggesting ways to condense the information. I’ve always felt that it is better to have too much than not enough as it is easier to take embellishments out, revise tighter, and such than it is to try and force in new information and material. In the process, we mix up the words so much that it becomes seamless between what Adrienne wrote and what I wrote. With the help of the editor, Randi Rivers, I hope we cut information that was repetitive and kept interesting and clear information.

 

AY: Cutting was very tough. I had a unique task because I was both the co-author as well as the illustrator. I know a lot of authors and illustrators can appreciate this quandary. There is a space issue always when doing a picture book. So I had to be a bit cold-hearted to the author part of me when I needed to cut 1,000 words. We had all edited and reedited so many times and then the word came down that 1,000 words had to go. At first I just closed up the document but then my illustrator hat appeared and I cut with gusto! The one part I wish we could have kept in was the factual part about how hummingbirds and flowers have coevolved. The concept of coevolution is so important and interesting to me but it was quite a large segment and I had to weigh the value of it in our book and realized I needed to cut it to make the book work as a whole.

 

Please describe some of the challenges you faced, from first inspiration to publication day.

 

JL: One of the biggest challenges was finding a subject we both felt passionate about, that would work well with Adrienne’s art, and that our editor wanted to buy. Then I think we had so many interesting facts that it was difficult to winnow out some to meet the word count. The other challenge, for me, was waiting. It took a long time from when the manuscript was submitted until the art director and book designer decided with Adrienne on the number of illustrations to include and other production factors. It’s hard to be patient!

 

AY: The one thing that comes to mind is the early loss of our editor Judy O’Malley. I had a wonderful meeting with her about the book.  When she became ill, and had to stop working on our book, it was tough to regroup for a bit. Thankfully we had a wonderful team at Charlesbridge with Diane and Randi so that is a happy ending.

 

What can you tell us about your writing rituals and routines? What sparks your creativity, and what keeps you writing/illustrating when your confidence falters or inspiration doesn’t come?

 

JL: I don’t know that I have a writing routine. I get very excited by the research and start pulling together a lot of information. I do tend to procrastinate so have to really push myself to set deadlines. I get a lot of inspiration from friends and a very supportive group of writers in the Austin area. Of course I also get inspired by some of the wonderful books I receive every day. There are so many wonderful writers and illustrators! I do tend to write when the muse strikes me.

 

AY: When I am writing, I work on the computer as well as long-hand because I suppose I am more physical as a person and writing by hand is more satisfying to me. If I am having difficult day writing, I take all of my books and papers to the local library and hide somewhere where there is no interruption. I need a lot of external structure and quiet when I write because it is more difficult to me than illustrating.

 

When I illustrate, I listen to audio books. I like unabridged books because the longer the better, particularly if they are good. I love mysteries though listen to all sorts of things. My two dogs, Mabou (the border collie) and La Redda (the toy red poodle) are usually in the studio and are wonderful company as I work. I can work on illustrations for hours at a time, and it is not unusual for me to work nine hours in one work session. I also like to work at all times of the day and evening because my medium of fabric appears differently as the light changes and sometimes this inspires subtle changes that add to the depth of the work. Though my most productive starting time is morning after I go to the gym. I always go to the gym first thing in the morning. It helps me to think and concentrate for the rest of the day.

 

Jeanette, would you mind giving us a tour of your writing space?


JL: I work from home and have an office that is quite messy. I know that librarians are supposed to be very organized but my books are randomly shelved on very tall bookcases. I also have a book cart, just like in a library, to hold books that I am currently using for projects. One thing I love about my office is that I have two large floor to ceiling windows that look out on birdfeeders, trees, and flowers. The windows let in a lot of light, which is not good for photographs!

 

And Adrienne, would you be willing to show us around your art studio?


 

Sorry really messy at the moment…Just finished a large commission (on wall) and am prepping for school visits. This bookshelf [far right] holds all my “conversational prints” that I use for fabric packs for schools. I do a lot of school visits based on my book,  Quilt of States, where kids get to do a fabric collage of their state….so I have lots of cow fabric, mountains, tomatoes, etc. on these shelves.

AY: I love thread!

Thanks for your thoughtful, detailed answers! And now, it’s time for our (in)famous LIGHTNING ROUND! A single word will do, but feel free to elaborate whenever you wish.


Wily Coyote or Roadrunner?

JL: Wily Coyote. Roadrunners prey on hummingbirds.

AY: This is so hard because even though I used to root for the Road Runner as a kid, and after all he is a BIRD, Wily Coyote reminds me a bit of Mabou, my beloved border collie and well I love them both…..


American Idol or GLEE?    

JL: Glee. I think I do better as part of a team instead of in competition.

AY: I don’t know either of these. I am at a loss for tv….I just watch movies on television and these days, I watch them while I play bridge on my IPAD so I am not really concentrating on movies too much lately except if I go to the movie theatre. I have become obsessed with bridge.


Cannoli or Hummingbird Cake? 

JL: Hummingbird cake (definitely hummingbird cake, unless I can have both)

AY: Hummingbird cake.

 

Violets or Bluebonnets…or a May basket of mixed flowers?
JL: Bluebonnets; I love seeing them each spring and they are a sign that it is wonderful to live in Texas.
AY: Gerber Daisies…….ok Violets but I love Gerber Daisies!

Wings or roots? 

JL: Wings. I tend to be restless and want to travel.

AY: Wings! I danced when I was younger and there is nothing as wonderful as feeling like you are flying…just for a second, catching the air. I sometimes look at birds and wonder how it feels to have the freedom of flight.

 

I’d love to chat with you all day, but since that’s not possible, will you please answer one more question about HUMMINGBIRDS–one that that you haven’t yet been asked in other interviews?

 

JL: How did you research and write the pourquoi stories? I have always listened to stories and really loved setting myself the challenge to find multiple versions of the same or similar tales so that I could absorb the story and retell it in my own way. I used books, articles, and the Internet to find stories but sometimes had to fill in a few missing pieces from my knowledge of pourquoi stories about other creatures. My skills as a librarian and my undergraduate degree in anthropology came in handy for this part of the book.

 

AY: So, you mentioned coevolution, can you briefly describe that for us? I am so glad you asked that question! Coevolution is a specialized relationship between two very different species that benefits both species and is reflected in mutual evolution. In this case, we are speaking about flowers and hummingbirds. When hummingbirds drink nectar they are also pollinating the plants they encounter. Hummingbirds have terrific vision but not a great sense of smell so the plants that they have evolved with have lots of nectar, are very colorful with little smell and are tubular in shape to fit their unique bills. Two examples of the plants that have coevolved with hummingbirds are columbine and fuchsia. When the hummingbird hovers over the flower, the hummingbird’s head and back are dusted with pollen and the hummingbird transports the pollen to the next plant and the next plant and so on and so on. The bird and the plant are dependent on each other for survival. So we can thank hummingbirds again, for helping to create such beautiful flowers!

 

I would also like a brief bio for each of you…anything you want to say about your personal/professional lives, plus your contact information.

JL: I was raised in a military family so we traveled a lot, although not as much as many families did. I credit my parents with instilling in me a sense of adventure and a desire to keep learning about new things. After a childhood spent moving, I’ve pretty much put down roots in Texas although my husband and I moved to a new house 4 years ago. We put in hummingbird and butterfly plants and I have discovered a love of gardening I never knew I had. Once a librarian always a librarian, I say, but after 30 years of working in libraries I took my pension and now write and consult full time. I love the opportunities that publishing Hummingbirds has given me to travel and talk to others who are interested in birding. I continue to learn about these fascinating creatures.

For more about Jeanette Larson, visit www.jeanettelarson.com. You can follow her on Facebook and Twitter, or contact her via email at jeanette@jeanettelarson.com.

AY: My work takes its inspiration from three elements: color, fabric and content. Every facet of my work – large pieces, special memory quilt commissions, and book illustrations – stems from: color – in all its saturation; fabrics – every age, texture, ethnicity and provenance; and content – either the political or emotional impact that drives me.

[I have] written and illustrated several books, including The Last Will and Testament of an Extremely Distinguished Dog, Quilt of States, and The Alphabet Atlas. In my latest book, Hummingbirds: Facts and Folklore from the Americas, I hope to capture the beauty and spirit of the hummingbird through a myriad of fabric based work, from photo transfers to fabric collage using the glittering colors of hummingbirds to captivate my readers. 

For more about Adrienne Yorinks, please visit her website: www.adrienneyorinks.com. You can also reach her by email at Adrienne@adrienneyorinks.com.

                                            

*CONTEST PARTICULARS: To participate, please leave a comment and/or compliment for the authors on this blog entry. Entries must be submitted by 9:00 p.m. (PDT) on Sunday, May 1st, and winners will be notified via this blog on Monday morning, May 2nd. Want to read more interviews? Please visit the Authors’ Tent archives. 

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