New essay: My 2018 in Books

2018 found me aphasic, trying to read, write, and pretend I was fine while my language skills unraveled. This was a side effect of the drug, Topamax, prescribed to me for migraines and epilepsy. I lost nouns, verbs, and names. Not great for a critic. I spent most of the year stymied and confused. Aphasia is a beautiful word, isn’t it? It’s also called Dysnomia; the language of losing language is cruelly euphonic…

Read the rest at Medium.

Treading

I’m as cranky as ever about our life on a sport schedule. Yes, I do think my kids swimming competitively is wonderful and yes, I know it makes me a jerk to complain about it. My crankiness has changed a little over the last few years. Does this matter? I am 100% less resentful of having to sit at the pool for an hour or two while the kids swim laps; I am 100% more excited about watching them compete. But practice? Pfft. I find the pool calming and I generally find it to be a good place to work (in my car at the pool, that is). Eric and I share driving duties. But I’m still cranky about the usual things: having to talk to other parents, having to eat dinner at weird times, having to not see my husband most nights, having to cajole the kids into putting on suits when they feel tired/angry/hesitant.

This is parenting. This is parenting. This is parenting.

Eric just left to pick up Addie from the pool, after driving cross-town twice to get them both there and then bring Henry home after he was done so he could avoid the wind. I just stayed home to stare at the wall. Tonight, everything is difficult. I thought that not having Henry play baseball this year was going to mean more ease. Ha.

AWP and LATFOB blinded me–as all writing/book gatherings do–with a flash of too-bright inspiration, followed by a heady sadness. Sadness for what? Nothing real. I’ve visited nerd land enough times to know it is a magical fairy illusion–one where I wear my best clothes and my best hair and most eager smile–and one that in no way corresponds to the life where I go to Costco to buy TP, or tell my freshmen every day to sit down and do school. I have zero desire to try to live in that imaginary space, and in fact I leave these nerd conventions feeling exhausted. But I also usually feel sad, a reasonless sad that seems to always manifest in a frustration with my schedule, lack of time, lack of energy for doing everything I want to do, etc. So today I’m pissed at swimming. I’m pissed at my job. I’m pissed at the hours it takes every day to transport two kids up from schools just miles from our house. I’m pissed that tonight when I went to cook rice, we were out of rice. So dumb. It’s the chafe of wants against have-tos, the old feeling like I have to be too many things to too many people, when I want to be alone, in my red sweat pants, writing for me (or, let’s be real, for someone who wants to pay me in US currency). I want to ditch the Mrs. Partington persona and shut down the HSP show. I want write and be impolite and and have energy for it and walk out of my office occasionally for hugs from my three people. Swimming gets the brunt of my frustration only because it’s the new thing in our schedule and if you’re going to parent someone who does a thing, you really can’t suck at making them go.

I am treading water in my critical career. I am pushing and pushing. I want to quit every night. I’m afraid to rest. This is writing.

We’re fighting about money. Getting married on tax day seemed funny 16 years ago.

What is this post? I’m trying to keep moving. I am staying up because I don’t know how to do the ten minutes where I lay in bed before I fall asleep. I am dreading that tonight. If I stop, I have to feel it pull me down. I have to wake up and do it again tomorrow. Nothing in my life is bad. But today I’m over my head.

 

 

 

 

Interview: Dorothy Rice, author of THE RELUCTANT ARTIST

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Dorothy Rice, author of The Reluctant Artist

Dorothy Rice’s memoir and art book, The Reluctant Artist, is a meditation on the author’s relationship with her father, and her efforts to catalog his extensive body of work. The artist, Joe Rice, was dedicated to completing a painting a week, yet despite creating a plethora of striking work, he never showed it or sought recognition for his art.

I recently corresponded by email with Dorothy (a good friend from my time at UCR Palm Desert’s MFA program) about writing the memoir, her father’s lasting lessons, and how she came to publish The Reluctant Artist through Shanti Arts.

Heather Scott Partington: How did The Reluctant Artist come about? What was its path to publication?

Dorothy Rice: The project began with an essay I wrote while taking taking community college classes at American River College. That essay, “The Paintings in the Rafters” told the story of an afternoon when my sisters and I got our father’s permission to haul a dozen or so paintings down from the rafters in his garage, where they had been stored (wrapped and taped up) for over twenty years. The essay was first published in the American River Review and then reprinted in the Still Point Arts Quarterly, an arts magazine that I found via the writers’ resource Duotrope. The editor of the Arts Quarterly, Christine Cote, was drawn to the art. She published several full color photos of my father’s work along with the essay and asked if I was interested in working with her on a book about my father and his art. I developed a proposal and we entered into a contract whereby I agreed to deliver text and photographs and she to publish the book.

I had no clear idea of what the text would be when I began but it eventually took its present shape, as a memoir touching on the ways in which the artwork affected me as a child, a young adult and throughout my life and, in particular, how my father’s lifelong pursuit of the arts inspired and fed my own creative aspirations. Because my father was always a very reserved man, the artwork had always seemed significant and important to me as manifestations and windows onto an interior life he kept mostly to himself.

thequeen copyHSP: Was there anything about the format of the book (art + prose) that presented a unique challenge or opportunity? Can you talk about how the book came together in terms of layout?

DR: The layout was primarily the purview of the publisher. She shared sample fonts and approaches to the layout with me, but to a great extent I deferred to her design expertise. When she first began to layout the project she had hoped the photos of the work could be interspersed with the text and placed near to where they are mentioned in the narrative. But she found this too cumbersome and instead opted to put most of the artwork and photos at the back of the book, with only a few images at the beginnings of the sections.

We did review several cover designs before arriving at the final. I knew that I wanted the self-portrait I call “The Green Man” on the cover and, for her, that posed some initial difficulties as the image is dark and dominant. We compromised on a smaller photograph that deemphasizes the starkness of the image. I had also wanted to use the title “The Green Man” for the book itself, but arrived at the compromise “The Reluctant Artist” after discussing with her the potential redundancy of the artwork and the title being so closely aligned.

What intrigued me the most about the publisher’s approach to the book was that she was wanted a full sense of the artist and his life and was therefore interested in including family photographs and other items of a more personal nature than I would have thought to include in the project without her encouragement. Her publications, at least in my experience, are an unusual blend of art and literature with a strong focus on visual presentation.

HSP: In the book, you say “I tuck things away for safekeeping.” Do your family members have a sense that you remember things better than they do? Or differently? What has your family’s reaction been to the memoir you’ve written about your memories of your dad?

DR: I think I have a reputation of “not letting things go,” of holding on to bits of information for later use. In terms of my father and his art, I was probably very irritating at times in terms of keeping track of where everything was and of what had been photographed and what remained to be done. For several years it was a kind of compulsion to gather the complete record and document his art on a website I created as a sort of online archive. Now that the book is done and there is something to show for those years, family members are very supportive and, I think, touched that we now have this unique memento of our father, who, in many ways, was an enigma to us all.

As far as memory, I think I have an amazing memory and that I recall many incidents complete with dialogue and other details. Yet I have learned from working on memoir projects these past view years that memory is mutable and that my “truth” isn’t always someone else’s. Our minds all work differently and it has been interesting to hear my sisters’ different takes on the same events. I did have several family members review the manuscript before it was finalized and made a few tweaks in response to their comments, not because I had it “wrong” necessarily, but because different wording could better capture how we all remembered things. For example, as I tend to be more pessimistic by nature than my sisters, my take often reflects that bent.

One thing that has been very heartening, and affirming, is that several family members (immediate family, cousins, nieces, uncles) have remarked that I captured Joe Rice, that my portrayal of my father felt true to them. Also, my memories have triggered deeper remembering for them, which was an important reason for putting the book together, to keep his memory alive. Other readers (i.e. non family) have expressed that the portrayal of my father resonated for them because of their own communication issues with a parent, spouse or other loved one. It has invoked the universal difficulty inherent in really knowing another person, particularly when that person is far from transparent. Also the notion of a person quietly pursuing their passion for decades (art in this case) without fanfare and seemingly with no need or interest in any outside approval or acknowledgement has also been a source of inspiration and interest for readers, as it has always been for me.greenman copy

HSP: You write that your father “had a distinct way of speaking”–how do you think his speech, and to some degree, his art–reflect the man that you came to understand him to be? Do you feel like you truly knew him?

DR: Interesting question. I always assumed his speech–he would sort of hesitate as if gathering his thoughts and then speak slowly and clearly, enunciating in an almost exaggerated way–had something to do with having come to this country in his early teens from the Philippines. But thinking about it, it could also have simply been that he was a man of few words and he didn’t take them lightly. He always thought before, and while, he spoke. His best art, to me, is careful art–the plotted geometric and surrealistic images of the 60s and 70s, so perhaps there is some concordance there.

HSP: Can you talk about the intersection of your dad’s life with some of the interesting figures in San Francisco in the 60’s?

DR: My Dad was an extreme introvert, so his life didn’t intersect with anyone’s in any obvious way. However, he was well read and aware of what was happening in the art world and therefore conversant about artists and art trends. Some of my fondest memories are of visits to museums and galleries and discussions about tastes in art. Like me I suppose, my father was not a joiner, of anything, and he avoided most social events that weren’t mandatory.

HSP: What do you wish you could ask your dad now?

DR: Related to the question above, I wish I knew more about artists he admired, artists he may have worked alongside or taken classes from at the San Francisco Art Institute, or earlier in undergraduate or graduate school. I always wanted to know what art meant to him, why he did it, why he had no interest in sharing or showing. It honestly puzzled me that as his health began to decline it became clear he hadn’t kept any kind of record of the things he’d created, no notebook or list. I would mention paintings or show him something on my website and he would be surprised, pleased too usually, and say he’d forgotten all about that one.

But, to be honest, I realize there’s no use wishing I could ask him things as he probably wouldn’t have answered in any way that I would find satisfactory. I asked lots of things along the lines of my questions above while he was still alive and received monosyllabic responses at best, more often only a wry smile and a wrinkled brow, as if to say, “what’s it to you, nosey pants.”

HSP: I know The Reluctant Artist took several forms before it was a memoir and art book. What might readers be surprised to know about those earlier versions?

DR: Well, I was always inspired by my father and his art, but I had also always wanted to be a fiction writer. So initially I fictionalized his life and thought it could be some kind of novel. Then, when I began taking writing classes and going to workshops, one instructor suggested I turn my novel into a murder mystery to liven it up. “Throw a dead body onto page two,” was his exact advice. So I did that and spent several years churning out a murder mystery, complete with San Francisco Irish detective, crazed hippies, one victim tossed from the allegedly haunted tower at the San Francisco Art Institute, the other strangled with her pearls in a dank basement. Very noir, very lame, very out of my wheel house. That novel resides in a drawer in my office, well actually, on the floor behind my desk.

new Joe Rice photos 006 copy

HSP: What’s your next project?

DR: I am working on a memoir inspired by my experiences as a mother. I never planned to have kids yet I ended up having a child in my 20s, 30s and 40s, one every nine years, plus two stepsons who came into my life with my third marriage.

This year, with my youngest child leaving home for college in the fall, I find myself reflecting on the journey, three decades during which I have been many kinds of mother—single, married, step, involved, neglectful and merely misguided. That said, who knows where it will lead.

_

The Reluctant Artist is available for purchase here.
More information about Joe Rice can be found here.
More information about Dorothy Rice can be found here.
Photos of Joe Rice’s artwork used with the author’s permission.

But what should I read?

The number one email I get from friends and family members:

Hey, I know you read a lot. Do you have any book recommendations? I want to read something new, but I don’t have any ideas. I want something good… and not too weird.

So here are some things you could read. I am putting this here for myself as much as for the next few people who are curious about books. I can’t usually remember titles on the spot.

But know this: The more I read for reviews, the less I care about the labels good or bad. Those don’t have as much meaning to me anymore, and I’ll happily spend time with a book that’s outside of my own comfort zone because I’m interested in finding out who the right person is for that book. (Which is, my reading strategy, and probably should be the topic of another post.)

Also, a lot of what I read is weird. Part of that is by design–I like to read and review books from indie or small publishers, and often what gets published by those smaller places is content that’s not mainstream. So I know many of my reviews don’t appeal to a wide audience because those books wouldn’t (and those books are still valuable). But here’s an attempt to round up some recommendations for the masses. These are things I think most people would like, grouped by (sort of) their genre. Their HSP genre, that is… how I would describe them to you over a glass of wine and some delicious cheese.

An imperfect list in no particular order (with apologies to any book I forgot):

Weird, But Not Too Weird

So you want to read something outside the norm? Something artsy or dark? Something that will challenge your worldview a little? These books were so weirdly beautiful/tragic that I was completely drawn to them. All different subjects, all great writing, and all kind of bizarre.

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A Reunion of Ghosts by Judith Claire Mitchell is a darkly comic book about three sisters trying to outlive a family curse. They descended from a Jewish chemist who invented Zyklon (a fictionalized Fritz Haber), and they spend their entire lives trying to pull together while dealing with a troubled family line. I reviewed it for the LA Times here.

Binary Star is a sad but alluring book by Sarah Gerard. I reviewed this one hereBinary Star is told from the point of view of a damaged anorexic on a cross-country journey with her (also) dysfunctional husband. Fun, right? I promise it’s good. Gerard’s language is beautiful and her characters see the world in terms of celestial bodies. It’s an amazing book.

Station Eleven by Emily St. John Mandel is and end-of-the-world tale about a traveling band of musicians who roam around playing music and putting on Shakespeare’s plays for small towns in a post-apocalyptic America. A few of the characters are old enough to remember life before the event that took out most of the world’s population, and over the course of their journey they begin to solve a mystery from before things went south.

Tender Data by Monica McClure is a book of poetry. I reviewed it here for Electric Literature. McClure gets into issues of femininity and puts her speakers in direct confrontation with the world. It’s raw and sometimes messy, but the language is beautiful and you will be captivated by McClure’s honesty.

Stuff that Really Happened

There’s only one history writer for me, and it’s because I am totally, completely, hopelessly biased. Since I got to interview him last year, I’ve been blabbing to anyone who will listen about “best friend and National Treasure” David McCullough. But he can sure pen a historical tome. I promise I’ll get around to Doris Kearns Goodwin one day, but here are some recommendations of books I’ve read by BF/NTDM in the meantime. They won’t disappoint.

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John Adams, The Wright Brothers, and The Greater Journey all by David McCullough, all phenomenally rocking my socks.

What’s Happening Now

This is a book that provoked really strong feelings in me, which is why I think it’s important to read. As an educator in America, I really found it both moving and challenging. Coates doesn’t pull any punches.

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Between the World and Me by Ta-Nehisi Coates

Based on Stuff That Really Happened

I’ve mentioned both of these books before, but (apparently?) I know a lot of people who are into historical fiction, so I will keep recommending them. Excellently researched and evocative works based on real women’s lives.

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Mary Coin by Marisa Silver is based on the life of Florence Owens Thompson, the woman in the “Migrant Mother” photograph by Dorothea Lange. Silver writes in alternating perspectives of the photographer and the subject.

Neverhome by Laird Hunt tells a fictionalized story of a woman who dresses up like a man to fight in the Civil War (to spare her husband, who is too weak to fight). This really happened, and Hunt’s flair for the detail and language of the time bring his characters to life in an enjoyable, complex story.

When did we agree to call it Cali?

I have a bit of an obsession with books about California, something I can trace directly to the summer I spent reading East of Eden by John Steinbeck. Ever since, I’ve been captivated by authors who write California well, and these do:

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Sidewalking by David Ulin is nonfiction, a collection of essays about walking in LA. I interviewed Ulin here, and I loved this meandering book.

Valley Fever by Katherine Taylor is a gorgeous love letter to the Fresno Valley. I reviewed this book for LARB, and I am still so smitten with Taylor’s lush descriptions of fruit trees, wide open spaces, and grapevines. Fresno book? Yes please.

The Beautiful Unseen by Kyle Boelte is a small book about fog in San Francisco, and the author dealing with his brother’s suicide. It’s quiet, calm, and spellbinding. If you’ve ever sat on the beach and watched the fog consume the hills of the city, you will love this book. It haunted me.

Short on Time? Read in chunks.

I didn’t like short stories until grad school. In fact, other than whatever I was assigned at UC Davis as an undergrad, and whatever I prepped to teach, I hadn’t read a whole lot of short stories. But something happened when I started to read a lot of short story collections for reviews and my thesis in my last year of grad school–I fell in love. I really like short stories now, and I’m better at knowing how I should read them–I can’t sit down and devour them all at once like a novel. So here are some great things I’ve read in the last few years, and these are all good for picking up, putting down, and picking up again. They’ll transport you.

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The Color Master by Aimee Bender was the first book review I ever published. But it’s a wonderful book, and I had no trouble writing about how much I loved Bender’s work. A joyful, strange read.

A Manual for Cleaning Women by Lucia Berlin is a more recent read, and Berlin’s stories walk an amazing line between ordinary and macabre. Her protagonists write of real life without ever becoming self-indulgent. She gets to the heart of human emotion without ever sentimentalizing. She was a master of characterization in just a few words. I reviewed Cleaning Women for Las Vegas Weekly here, and I had trouble keeping my words short.

Gutshot by Amelia Gray is raw. Violent. Mysterious. And I loved it. Gray’s mind is dark and I couldn’t put these weird stories down. I reviewed this one for Ploughshares.

Birds of a Lesser Paradise by Megan Mayhew Bergman isn’t too recent, but it bears mentioning because I love it so much. I read this one in grad school just before the author came to guest lecture. These are tragic, magical stories filled with love and awe.

Stories about Complicated Ladies

I don’t know what else to call these books. But they’re the kind of thing you can lose yourself in over a period of days, or use to transport yourself to another world of friendships, affairs, betrayal, and a whole host of issues about what it’s like to be a smart lady with all the feelings. I loved both of these, and they’re completely different from each other.

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My Brilliant Friend by Elena Ferrante is probably the book you’ve been overhearing your friends talk about. Go read it. It is the first of four books by Ferrante (a pen name, which somehow adds to the draw) about two friends in post-WWII Italy. I’m on the second one and it’s just as good. MBF follows the women through their girlhood and adolescence. It’s great.

Hausfrau by Jill Alexander Essbaum was the “it” book earlier this year. (It was touted as 50 Shades for the literary crowd). Jill was my poetry professor at UCR, but I promise you my fandom would be just as maniacal if I didn’t know her. This book felt like a rare treat–each sentence is beautifully constructed, and it’s a multi-layered story about a dangerous woman. Loved it.

What I’d Recommend to My Students

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I read Make Your Home Among Strangers by Jennine Capo Crucet for a review at The LA Times, and I was really struck by how much this book carried a message that my AVID kids need to hear. It’s about a first-generation college student who doesn’t know how to handle college once she gets there. I would put it in any of my students’ hands in a heartbeat (and have already done so a couple of times).

The Meursault Investigation by Kamel Daoud is the kind of book I’d recommend to my former AP kids. For some reason, Camus’ The Stranger really strikes a chord with a few students each year. Daoud’s masterful telling of the story from the perspective of the unnamed Arab’s (invented) brother is stunning.

Books Where Stuff Happens

A large portion of the conversations I have with my students about books have something to do with helping them find books “where things happen.” Many of them are impatient and don’t want to trudge slowly through a dry historical narrative to get to the good parts. If you’re looking for books where there is a lot going on all at once (and right away), these are some pretty good bets.

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Everyone and their mom has already read The Girl on the Train by Paula Hawkins. You might as well join the club. My sense is that you’ll either love it or hate it. (My two favorite emotions to have about a book!) I dug this book (and I stand by my review, even though I’ve talked to so many people who hated it). I think it’s a creative take on a crime novel. The main character doesn’t know if she did it.

All This Life by Joshua Mohr was a book I also reviewed, and it is one of the best constructed books I’ve read in a long time. Mohr weaves together the stories of many different people in San Francisco in this tale that examines how technology links us together–sometimes inextricably.

Gangsterland by Tod Goldberg is another book where action takes center stage. Tod was my thesis advisor at UCR, and this book from last year shows what he does well–characters with complex inner narratives, often struggling to move forward in life. In this case, though, the guy struggling to move on is a criminal posing as a rabbi. It’s a fun book, and the main character’s deeper spiritual questions keep the work from being cliche. A fun read, but also thought-provoking.

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And there you go. Does that give you someplace to start? If you need more, you can find me over at Goodreads.

Bacon, Butter & Good Intentions

Welp. I was feeling all kinds of positivity when I wrote that post on Sunday night, and Monday went to hell.

I spent all day yesterday dealing with post-hysterectomy body drama (if you’re counting, I’m 4+ months out and things are not better). I went to the doctor just to get checked out because I am still in pain had a feeling something was off, and I ended up having to have a friend come get me because they needed to do a biopsy which almost made me puke/pass out on the table. Ta-da! I’m good and it’s probably just a weird/slow healing thing, but spending the last two days in my bed (again) on pain meds (again) is boring (again) and I’m not really taking fall by storm.

Anyway. This is giving me a chance to fall deeply once more into my Plants vs Zombies addiction and to finish what Eric seems to think is my 4th rewatch of Downton Abbey. I haven’t done a single productive thing. But you guys, I am going to be the most prepared for the final season series, and I have to do this by making sure I have all of the Dowager Countess’ quips at the forefront of my mind. “Any port in a storm.” Am I right?

UntitledThe cats ignored me all day yesterday, so today I am forcing them to acknowledge me because locked them out of all of the other rooms in the house. They’ll have to see me, at least. In Cookie’s case, it’s only to plan how she will cut my throat as I sleep, but I’ll take it.

It isn’t super comfortable to go up and down the stairs, so I went down about a half hour ago and carried everything up that I might need in the next six hours. Yes, food. Yes, books. Yes, candy.

I did do something fabulous on Sunday morning, though, and since I’m a blog photo thief, I have a evidence. Cely of Running Off the Reese’s moved to Sacramento recently. I have been reading her blog for years and wishing she didn’t live in Texas. Somehow this really happened. Since I am only able to make friends when I can interact with them online before actually interacting with them in real life (see: my entire grad school experience, the complete extent of my friendships in the literary world), this worked perfectly. On Sunday I met up with Cely, her sister Sari, and my local (also a former blogger) friend Tracy at Bacon and Butter and I happily died a death by grilled cheese eggs benedict. Everyone was lovely and I can’t wait to do it again.

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I am going to make an effort to keep the TV off and the ipad out of my hands until I get some reading and writing done today. I have no excuse to leave this bed full of candy and cats. I’m starting Sarah Einstein’s memoir, Mot, today, and that should keep me busy. Right?