Julie Hale

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That Little Something, the 18th collection from U.S. Poet Laureate Charles Simic, is a volume of brief, informal poems that feel effortlessly composed and poignantly chronicle the loneliness of the human condition. Simic's poems are populated by observers and outsiders – solitary figures who are ill at ease in the world. In melancholy portraits of isolation like "Walking" and "Dramatic Evenings," a sense of disconnection is coldly palpable. The narrator of "Summer Dawn" is rootless and alone, prepared "To slip away on foot . . . to look for another refuge." Simic is a master of the mental picture – in a couple of words, he can complete a portrait. The noir-ish "Night Clerk in a Roach Motel" is full of suggestive images that are simple yet unsettling. The narrator, "the furtive inspector of dimly lit corridors," wonders to himself, "Is that the sound of a maid making a bed at midnight? / The rustling of counterfeit bills being counted in the wedding suite? / A fine-tooth comb passing through a head of gray hair?" Clean, uncluttered, almost conversational, Simic's poems examine solitude from every angle, yet they don't leave the reader feeling cold. Simic has his own brand of pleasant pessimism. It's a bleakness leavened with ironic humor, and it gives his work an extra edge, as evidenced in "Madmen Are Running the World": "Watch it spin like a wheel," Simic writes, "and get stuck in the mud."

Lost moments

With Old War, award-winning poet Alan Shapiro offers a beautifully crafted collection dealing with the passage of time, the threat of mortality and the fragility of joy. The narrator of many of these poems is the jealous guard of a precarious peace, all too aware of the fleeting nature of contentment, desperate to hold on to the here and now. In poems like "Last Wedding Attended by the Gods" and "Bower" – both filled with lush imagery yet tinged with bittersweet sadness – happiness exists outside of reality and is all too easily shattered. "Old War," another homage to the lost moment, is a wistful, questioning work in which the poet tries to regain what's gone: "Where is the bower? / And where is it now? / And how do I get back?" Shapiro writes from a variety of perspectives in this formally diverse collection. Persona-based poems like "Skateboarder" and "Runner" showcase his ability to transform commonplace occurrences into remarkable experiences. The perfectly controlled "Country-Western Singer" couples lowbrow subject matter with a traditional rhyme scheme, but the results are unexpectedly profound. After years of drink, the singer has reached the end of the line: "And the blood I taste, the blood I swallow / Is as far away from wine / As 5:10 is for the one who dies / At 5:09." Perfectly shaped, written without excess, Shapiro's poems are first-class.

A simpler past

Showcasing her breadth of vision and mastery of form, Mary Jo Salter's A Phone Call to the Future features new work, as well as excerpts from previous volumes. The book spans nearly a quarter of a century and provides a rich sampling of Salter's eloquent, elegantly composed poems. In the visionary title work, Salter contrasts our technologically advanced era with the less complicated decades that came before, revealing a past that appears unreal: "Who says science fiction / is only set in the future? / After a while, the story that looks least / believable is the past. / The console television with three channels. / Black-and-white picture. Manual controls." Marked by a very conscious sense of craft, Salter's work is precise and artful, composed with a decided sensitivity toward formal poetic tradition. Injecting routine moments of existence with a special luminescence, she writes about the mother-daughter bond ("Dead Letters"), the habits of marriage ("Aubade for Brad") and the process of aging ("Somebody Else's Baby"). There are no extraordinary events here, just the business of day-to-day living, with its little highs and lows, recounted in poems that are deeply human, brilliantly realized and refreshingly perceptive.

That Little Something, the 18th collection from U.S. Poet Laureate Charles Simic, is a volume of brief, informal poems that feel effortlessly composed and poignantly chronicle the loneliness of the human condition. Simic's poems are populated by observers and outsiders - solitary figures who are…

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It's the ultimate pairing: Cormac McCarthy plus the apocalypse. As an author who has delivered some of the darkest moments in modern fiction via books like Blood Meridian and Child of God, McCarthy seems uniquely suited to an exploration of what the world might be like at its end. With The Road, he has developed this nightmarish scenario into an affecting and compassionate novel, as an unnamed father and son wander without hope through a blasted, barren landscape. The exact nature of the catastrophe that has reduced the world to a wasteland is never precisely specified, but there are hints that the event was nuclear-related. In an eerie flashback, the father recalls a long shear of light, and then a series of low concussions . . . a dull rose glow in the windowglass. The results charred corpses in melted cars, a constant rain of ash, the wiping-out of all wildlife are there for father and son to witness as they make their way on the road of the book's title, pushing a shopping cart filled with their few possessions. To stay in one place is to invite attack from other survivors, who have formed primitive communes and engage in cannibalism, and so the pair are, for all intents and purposes, doomed to eternal travel.

But as father and son pick through the remnants of civilization in search of edible food and serviceable clothing, encounters with other people are inevitable, and when the boy shows concern for his fellow survivors, his father unsympathetic and protective forbids him to make contact. These moments of opposition between boy and man, despite the book's tense, menacing atmosphere, come across as classic instances of father-son sparring. The earth may be in an arrested state, but the pair's relationship continues to evolve, its course progressing naturally. McCarthy's depiction of their bond is remarkably delicate and sympathetic. The fact that their fate could be our own adds a layer of dark fascination to the novel, a perverse allure. Indeed, a speculative account of this kind is bound to arouse a sort of obscene curiosity in its audience, and to that end, reading The Road is a bit like observing the aftermath of a car accident you want to look away, you should look away, but you can't.

Coming from McCarthy, The Road feels inevitable. It's an absolute expression of his rather nihilistic worldview, the farthest possible extension of his aesthetic. Last year's No Country for Old Men introduced a more accessible style from the author, and with The Road, the trend continues. The novel doesn't strive for epic status, nor is it weighted with the broad metaphors and sweeping rhetorical passages that characterize McCarthy's previous work. The writing in The Road is his most direct to date, the prose less elliptical and easier to process than ever before. Yet, there's no mistaking where you are when you read The Road: in McCarthy country–terrible, beautiful, and like no other place in contemporary literature.

Julie Hale writes from Asheville, North Carolina.

It's the ultimate pairing: Cormac McCarthy plus the apocalypse. As an author who has delivered some of the darkest moments in modern fiction via books like Blood Meridian and Child of God, McCarthy seems uniquely suited to an exploration of what the world might be…

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Edward Hirsch began contributing his Poet's Choice column to The Washington Post Book World not long after 9/11, and the weekly feature immediately struck a chord with readers. His new book, Poet's Choice, is a collection of those columns that covers the work of more than 130 poets from different eras and countries. Writing with a gentle touch about a formidable genre, Hirsch invites readers to further explore the work of Vietnam War poets, Asian-American women poets, contemporary Mexican poets and Scottish poets. He also dissects individual works, taking them apart so readers can see how they function. Reviewing new poetry collections from modern authors like Stuart Dischell, Deborah Digges and Bill Knott, he provides ample historical context for their work. A wonderfully accessible book, Poet's Choice is divided into two parts: the first focuses on international writers, while the second looks at American authors. There's plenty of new material in the volume, as Hirsch has revisited and expanded many of his original columns. An acclaimed poet in his own right, Hirsch is the author of six verse collections, as well as the best-selling book How to Read a Poem: And Fall in Love with Poetry. With Poet's Choice, he offers a delightful tutorial in both classic and contemporary verse.

 

 

Edward Hirsch began contributing his Poet's Choice column to The Washington Post Book World not long after 9/11, and the weekly feature immediately struck a chord with readers. His new book, Poet's Choice, is a collection of those columns that covers the work of…

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Virginia Woolf: An Inner Life, by Julia Briggs, focuses on the intellectual struggles and triumphs of a literary genius. Illustrated with original dust jackets, pages from Woolf's manuscripts and a copy of the suicide note she wrote to her husband Leonard in 1941: I feel certain that I am going mad again.

Virginia Woolf: An Inner Life, by Julia Briggs, focuses on the intellectual struggles and triumphs of a literary genius. Illustrated with original dust jackets, pages from Woolf's manuscripts and a copy of the suicide note she wrote to her husband Leonard in 1941: I feel…
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Patrick O'Brian: The Making of the Novelist, 1914-1949 is a response by O'Brian's own stepson, Nikolai Tolstoy, to an earlier biography by Dean King which depicted the master of seafaring fiction as a contemptible person and a cruel parent who had abandoned his first family and invented a new persona. Not surprisingly, Tolstoy takes a different view, using O'Brian's personal papers to bolster his arguments.

Patrick O'Brian: The Making of the Novelist, 1914-1949 is a response by O'Brian's own stepson, Nikolai Tolstoy, to an earlier biography by Dean King which depicted the master of seafaring fiction as a contemptible person and a cruel parent who had abandoned his first family…

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Sharon Creech, acclaimed author of numerous children's books including Ruby Holler and The Wanderer, has collaborated with Caldecott Medal winner David Diaz to produce a distinctive gift for new mothers. Who's That Baby? New-Baby Songs is a heartwarming volume of poems that pays tribute to the bond between parents and children. This beautifully illustrated book contains 16 selections that can be recited or sung. In pieces about parents, grandparents and special family times, Creech succeeds in creating a baby's sense of wonder the unique delight a child experiences as he or she first becomes aware of the world. Diaz's images stars, flowers and rosy-cheeked children punctuated by whimsical swirls of line and color provide a delightful balance to Creech's verse. A keepsake to be treasured for years to come, Who's That Baby? is the perfect pick for quiet time with the kids, and a wonderful way to send them off to sleep.

A little sister who's larger than life
Ross MacDonald, whose illustrations have appeared in the New Yorker, Newsweek and Vanity Fair, offers a bold romp through Babyland in Bad Baby. This colorful, eye-popping follow-up to MacDonald's beloved picture book Another Perfect Day continues the adventures of young Jack, the pint-sized protagonist who likes to fantasize about being a grown-up. Jack still has the ideal little-boy life there's plenty of baseball and a mountain of candy! but he is in need of a friend. When a new baby sister arrives, his problem is solved. Soon he and little sis are having tea parties, playing peek-a-boo and drawing pictures. But Jack's new playmate proves more than a handful, as she makes all kinds of mischief and lands him in big trouble. With its retro illustrations and 1950s feel, Bad Baby has all the makings of an old-fashioned kids' classic.

Sharon Creech, acclaimed author of numerous children's books including Ruby Holler and The Wanderer, has collaborated with Caldecott Medal winner David Diaz to produce a distinctive gift for new mothers. Who's That Baby? New-Baby Songs is a heartwarming volume of poems that pays tribute…

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The spunky star of the best-selling books Olivia and Olivia Saves the Circus is set to jetée her way into the hearts of theater fans old and young. Making her dramatic debut in time for the holidays, the little white pig takes center stage with Teatro Olivia, a handsomely designed three-dimensional theater that allows aspiring young directors to mount their own productions. Created by author Ian Falconer, this ingenious, miniature playhouse serves as the perfect introduction to the performing arts. Raise the curtain on Teatro Olivia, and you'll find a fold-out stage with wings and a handsomely appointed auditorium, complete with balcony, box seats and an audience of need it be said? discriminating observers.

A variety of backdrops, props and costumed paper dolls provide the required equipment for special stagings of Swan Lake, Turandot and Romeo and Juliet, all featuring Olivia, who is aided in these dramatic endeavors by her little brother Ian. Together, the piglet players take the leading roles in each production. An accompanying Playbill provides plot summaries for the theatrical works, as well as biographical information on the sibling stars.

Sure to be a hit this holiday, Teatro Olivia is the ultimate indulgence for active imaginations. Expect rave reviews and encores galore. Bravo, Olivia take a bow!

 

The spunky star of the best-selling books Olivia and Olivia Saves the Circus is set to jetée her way into the hearts of theater fans old and young. Making her dramatic debut in time for the holidays, the little white pig takes center stage with…

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Speak, So You Can Speak Again: The Life of Zora Neale Hurston is a one-of-a-kind retrospective of a remarkable author. Produced by Lucy Anne Hurston, niece of the novelist, and the estate of Zora Neale Hurston, this unique book provides an in-depth look at one of the formative voices in American literature.

Presented in an interactive, lift-the-flap, scrapbook format, Speak traces the life of this spirited writer, from her birth in 1891 in Notasulga, Alabama, through her involvement in the Harlem Renaissance and career as a fiction writer, to her groundbreaking work as a collector of Southern folklore. As the book reveals, the woman who wrote Their Eyes Were Watching God was an innovative, independent artist who attended Barnard College in the mid-1920s (she was the only black student at the time), worked as a drama teacher for the Works Progress Administration (along with Orson Welles and John Houseman), and embraced scandal (she smoked in public and had a trio of husbands, one of whom was 25 years her junior).

Filled with artifacts, correspondence and rarely seen visuals, this special volume, which also includes a CD of radio interviews and folk songs performed by Hurston herself, is a unique homage to an adventuresome author.

 

Julie Hale is a writer in Austin, Texas.

 

Speak, So You Can Speak Again: The Life of Zora Neale Hurston is a one-of-a-kind retrospective of a remarkable author. Produced by Lucy Anne Hurston, niece of the novelist, and the estate of Zora Neale Hurston, this unique book provides an in-depth look at…

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Here's an interesting bit of literary trivia: trade paperback books those appealing, affordable little volumes that bibliophiles just love to collect first made their way onto the market in 1954. That year, publishing magnate Alfred A. Knopf announced a debut list of very special titles, a group of hardback classics that would be reissued in handsome paperbound editions by a new division of his company. That imprint was none other than Vintage Books, and its inauguration 50 years ago was a watershed moment in the world of literature. Of course, readers are now familiar with the Vintage miracle the magical transformation of great hardcover titles into irresistible paperbacks, complete with eye-catching jackets and distinctive typefaces.

Now, in celebration of its 50th anniversary, Vintage is giving book lovers another reason to browse the shelves: Vintage Readers, a group of attractive, budget-friendly anthologies designed to give an overview of a particular author's work. Vintage Readers covers an international roster of writers, with volumes on V.S. Naipaul, Martin Amis, Joan Didion, Richard Ford, Haruki Murakami, Langston Hughes, Oliver Sacks and others. Each of these special literary samplers offers selections of essays, short stories, poems and novel excerpts, featuring lesser-known material and work never before collected in book form. The volumes also include brief author biographies. There are 12 books in the series so far, each just over 200 pages in length and priced at $9.95. This month, BookPage pays tribute to the Vintage vision by spotlighting some of the entries in the new lineup.

Sandra Cisneros
A favorite with fiction lovers, best-selling author Cisneros is a one-of-a-kind writer whose work distills the Latina experience. Cisneros' work has been translated into more than a dozen languages, and she has won numerous awards. Vintage Cisneros, with excerpts from the novels Caramelo and The House on Mango Street, poems from My Wicked Wicked Ways and Loose Women, and stories from Women Hollering Creek, is the perfect introduction to one of the strongest voices in contemporary literature.

James Baldwin
A groundbreaking African-American author, Baldwin produced classic works of both fiction and nonfiction over the course of his career. His writings on race during the 1960s were definitive, provocative and explosive, and they're featured in Vintage Baldwin, which includes excerpts from his nonfiction works Nobody Knows My Name and The Fire Next Time. Baldwin's fiction is also represented here, with the timeless short story "Sonny's Blues" and an excerpt from the novel Another Country.

Barry Lopez
Although he made his name as an essayist and nature writer, Lopez has also produced several masterful collections of short stories. Vintage Lopez provides a broad sampling of his work, with choice pieces from the nonfiction books About This Life and Crossing Open Ground, as well as the National Book Award-winning Arctic Dreams. The volume also features a generous helping of Lopez's fiction, with stories from Field Notes and his recent book Light Action in the Caribbean.

Alice Munro
Mistress of the modern short story, Munro writes narratives brimming with crystalline moments of revelation. This National Book Award-winning writer has earned international acclaim by bringing her corner of Canada to life. Vintage Munrospans the beloved author's long and distinguished career, featuring stories from much-praised collections like The Moons of Jupiter, The Progress of Love, Open Secrets and her most recent book, Hateship, Friendship, Courtship, Loveship, Marriage.

Here's an interesting bit of literary trivia: trade paperback books those appealing, affordable little volumes that bibliophiles just love to collect first made their way onto the market in 1954. That year, publishing magnate Alfred A. Knopf announced a debut list of very special titles,…

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Here's the news, buckaroos: Those rootin'-tootin', pistol-packin' papas (and mamas) who made the old West wild are ridin' herd again. That's right with their old-fashioned, aw-shucks etiquette, quicksilver dexterity and quiet stoicism (not to mention their ways with a horse), cowboys continue to romance us. BookPage hits the dusty trail this month with a trio of titles commemorating a great American icon. So saddle up and come along.

Douglas B. Green, better known as Ranger Doug of the musical group Riders in the Sky–the fringed foursome whose heavenly harmonies and cornball comedy have made them public radio favorites also happens to be a scholar of American roots music. You heard right, partner: the Riders' melodious yodeler and rhythm guitarist is now o-fficially an author. Green's new book Singing in the Saddle: The History of the Singing Cowboy surveys the cowboy tradition in country music, examining its history and repertoire, as well as the performers who made it famous on radio, stage and screen.

From early crooner Carl T. Sprague, who recorded the first cowboy hit, When the Work's All Done This Fall, in 1925, to timeless troubadours Jimmie Rodgers and Tex Ritter, to the Western revival of the present-day, Singing in the Saddle doesn't miss a beat of the cowboy's musical history. Spotlighting favorites like Gene Autry and Roy Rogers, as well as those singing cowgirls of the '30s Patsy Montana and Louise Massey, the book offers a discography and timelines, all painstakingly compiled by Green. The inimitable musician-turned-author spent 30 years researching the volume. (That's a whole lotta book-learnin'.) The result is a briskly paced narrative filled with movie stills, photos and other cowboy arcana that's sure to lasso the hearts of country music fans everywhere.

Lovers of The Wild Bunch and Gunsmoke will have a boot-stompin' good time with Holly George-Warren's Cowboy: How Hollywood Invented the Wild West. Looking at early dime novels that dished sensational stories about the shoot-'em-up, rough-ridin' ways of the West, celluloid epics that celebrated the image of the wholesome, white-hatted cowboy, and TV serials whose handsome heartthrobs trotted through the dusty streets of Kansas cowtowns, George-Warren demonstrates how the myth of the range evolved in the media, shrewdly exploring the gap between the image and the reality of the wild frontier.

They're all here the gunslingers, the outlaws and the pioneers, the hard-working cowpokes and their starlet sidekicks. With chapters on screen idols like Clint Eastwood, Gary Cooper and the Duke, and on the portrayal of African Americans in the West, Cowboy, full of classic photos and fun Western graphics, reveals the truth behind the legend of America's first real heroes.

A salute to the ladies who sit proud in the saddle, Rodeo Queens and the American Dream looks at the lives of the gals who ride in the ring as royalty. Known as the sweethearts of the rodeo, these beauty queens, resplendent in buckskin and rhinestones, are picked to kick off rodeo festivities across the country, baiting crowds with their stylish horsemanship and eye-catching outfits. But these fine-looking fillies are more than mere ornaments. Beginning in the 1930s, author Joan Burbick, an American studies instructor at Washington State University, traces the history of the strong womenfolk whose contributions to rodeo culture rival that of their bronc-bustin' male counterparts. Residents of the rural West, many of the queens Burbick interviewed for the book are skilled ranchhands who were raised on horseback, capable of breaking horses and branding beeves women who have witnessed the waning of farm life. Queens from the '50s and '60s, rodeo's golden age, share memories of the gender conflicts and racial issues that molded the sport and the towns that sponsored it, while modern-day monarchs describe the glitz of the commercialized, televised contest. Poignant and unique, these are personal stories that intersect with the history of our nation. A wonderful souvenir of a rural and urban spectator sport that dates back to the 19th century, Rodeo Queens is an invaluable collection of memories from women who can still recall how the West was won.

Here's the news, buckaroos: Those rootin'-tootin', pistol-packin' papas (and mamas) who made the old West wild are ridin' herd again. That's right with their old-fashioned, aw-shucks etiquette, quicksilver dexterity and quiet stoicism (not to mention their ways with a horse), cowboys continue to romance us.…

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Those hips, those lips, that baby face: of course, we're talking about Elvis. August 16 marks the 25th anniversary of his much-mythologized demise. Since that unforgettable day in 1977, the King has continued to cause a sensation, generating as much attention in death as he did in life. And that's saying a lot for the hillbilly hipster who once kissed so many girls he got calluses on his mouth. A good boy and a bad man, a gentleman and a lady-killer, Elvis pouted and snarled, sang like an angel and danced like a demon. By the end of his brief life, he'd been enthroned on the top tier of rock-n-roll royalty and permanently absorbed into the national consciousness. As with all things connected to the King, a frenzy of activity has occurred in the publishing world to commemorate his purported passing. Unless you're one of the rare few who've spotted Elvis in a Burger King, check out the following titles to make sure his legend lives on.

If Elvis was an industry, then his target market was, of course, teenaged girls. Who else could be persuaded to purchase Hound Dog Orange non-smear lipstick? In The Girls' Guide to Elvis, Kim Adelman compiles all the juiciest, need-to-know info about the Hunk O' Burning Love. The creator of GirlsGuidetoElvis.com, the popular Web site, Adelman has produced a kitschy handbook filled with gossip, timelines and delicious trivia. Illustrated with retro graphics and rare photos, this fast, fun read covers the following Elvis-oriented categories:

Hair: Those sensational sideburns, that glorious pompadour . . . Believe it or not, his locks were brown, not black. According to Girls' Guide, in the early years, Elvis used a pomade that darkened his crown, which was later dyed black on a regular basis. (Compare his coif to Priscilla's: though it may have been challenged by her formidable bouffant, his was undoubtedly the dominant do. What hair, what a pair!) Girls' Guide checks in with Elvis' stylist, Larry Geller, who did his hair for 13 years and fixed it for the last time when the King was lying in his coffin. See Geller's account of the postmortem primping for proof that Elvis really is dead. Really.

Girls: A hobby. Elvis dated notables and nobodies, and had a special place in his heart for chorus babes. Natalie Wood and Ann-Margret were two of the dolls who appeared on his arm before he met Priscilla in Germany in 1959. She was 14; he was 24. Two years later she was living in Memphis.

Food: Naughty, naughty. Elvis's love for peach pie and fried okra resulted in split pants onstage. It also led him to experiment with freaky fad diets, one of which believe it or not required him to be injected with the urine of a pregnant woman. Girls' Guide includes the Teddy Bear's favorite recipes and examines the health problems that resulted, in part, from his hearty appetite.

Sex: That little three-letter word . . . Sorry, we can't divulge details here!

And finally, the Girls' Guide quotes from fans ("Tom Jones is Jesus Christ, but Elvis is God Almighty") are also fab.

An outstanding visual memorial, Elvis: A Celebration traces the arc of the King's career, depicting the bright beginning, the dark ending and all the drama that came between. With more than 600 photographs, as well as material from the official Elvis archive in Memphis, this weighty volume is a one-of-a-kind testament to the appeal of the rocker who gyrated his way to superstardom. Classic pictures of the 1950s Sun Records sessions feature bandmates Scotty Moore and Bill Black, while film stills of the '60s illustrate the movies we love to hate. All the incarnations of the star are represented here: cowboy Elvis, G.I. Elvis, Hawaiian Elvis, Elvis as wholesome country boy and sophisticated city slicker, as father, husband and son.

Close-ups of his costumes from the '70s show the shades and capes, sequins and fringe that made the singer such a model of sartorial splendor. Many of his ensembles from the Aloha "eagle" outfit to the famous sundial suit, a gold and white creation emblazoned with an Aztec calendar design that was the last he would wear onstage weighed at least 25 pounds.

Here's a new way to get your hands on Elvis: Villard's interactive title The Elvis Treasures is full of souvenirs and unique memorabilia that can be removed and perused by the reader. The singer's story is told through reproductions of documents and collectible items like letters, press releases and film scripts, along with illustrations from the Graceland archives. Pull-out posters for Jailhouse Rock and King Creole, a steamy love note sent to Miss Anita Wood, Elvis' gal in Memphis during his time in the Army ("I can't explain to you how I crave you and desire your lips," wrote the Hound Dog), as well as reproductions of tickets, telegrams and postcards, make this a mini-museum dedicated to the ultimate heartthrob.

With text by music journalist Robert Gordon, an Elvis expert and author of The King on the Road, the volume offers a comprehensive look at the life and music of the man who put Mississippi on the map for reasons that had nothing to do with race. Combining a fascinating narrative with clever visuals, this ingenious book is accompanied by Elvis Speaks, a 60-minute audio CD of interviews with the King. It all comes in a sturdy, handsome gift box. Perfect for fans who prefer to experience Elvis in 3-D.

Those hips, those lips, that baby face: of course, we're talking about Elvis. August 16 marks the 25th anniversary of his much-mythologized demise. Since that unforgettable day in 1977, the King has continued to cause a sensation, generating as much attention in death as he…

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Publishers Weekly once described Gail Godwin as a mix of "mysticism and clear-headed practicality," a fusion of divergent forces that has proven a rich one for the author, whose novels Evensong and The Good Husband explorations of mortality and faith that mine the spiritual side of their characters have earned her both popular and critical acclaim.

"I spend a lot of time either in awe of or in pursuit of the unseen," Godwin says by phone from her home in Woodstock, New York. Indeed, her first nonfiction book Heart: A Personal Journey Through Its Myths and Meanings gives substance to the unseen, solidifying the essence of one of our most popular symbols: the heart. A synthesis, a survey, Godwin’s new book tours history, religion, literature and art, examining the role of the heart in each of these contexts and bringing to mind the best of Diane Ackerman and Annie Dillard along the way. Exploring the accretion of meanings, the layers of significance humanity has projected onto an emblem that probably dates back to 10,000 B.C., when the heart as we know it that shapeliest of symbols, all lavish arch and flirtatious curve was first scrawled on a cave wall in Spain, the narrative is part history, part anatomy, part literary criticism, an in-depth examination of what lies behind the good, old-fashioned valentine.

"Finding out how all these areas branched out and connected was a broadening experience," Godwin, a three-time National Book Award nominee, says. "It’s a heartful way to write, more of a circulatory way, to see how things tie in to other things."

Raised in North Carolina, Godwin has a soothing Southern lilt, which she punctuates with deliberative periods of silence, as though searching for the best possible words to express her ideas. The contemplative tone seems just right for the author, whose abiding interest in the world’s theologies lends her new book a certain urgency. When she encourages readers to "revaluate the heart," to "develop more consciousness of heart," Godwin seems to be writing in earnest.

"I feel more and more that we really spent hundreds of years perfecting our minds and our industries and our reason, and now it’s really time to catch up with the other stuff. Like the heart," Godwin says. "I think it’s happening in increments. Once you’re aware of the heart and heartlessness, you’ve already made some mileage."

Although Godwin has a strong background in journalism — she once worked as a reporter for The Miami Herald — the shift from fiction to nonfiction with Heart was not without its challenges. "As far as the writing goes, I found that I had to keep myself from being too dry and scholarly," she says. "Whenever I put on my scholar’s hat, my heart went out of it. When you think of the nonfiction you enjoy reading, it’s written in a voice. You’re not just getting information. Someone is bringing you the information through their personality."

Godwin’s voice in the book is poetic and lucid as she recounts some of the greatest heart moments in history — the creation of the stethoscope; the first valentine; how the heart symbol got its shape. From the evolution of Taoism to the Holy Wars to courtly love, she portrays the heart as a motivator for some of history’s greatest moments, showing how much of life has, in a sense, been engendered by one little organ. The seat of desire and the center of humanity, the stimulus for things great and small, from one-night stands to world wars, the heart, as the author demonstrates, is a point where we all connect.

Godwin experienced this connection firsthand during the writing of Heart, when she discussed the narrative with friends, some of whom freely gave her suggestions for the book. "When I worked on my novels in the past and talked to people about them, they always hung back from suggesting ideas," Godwin says. "They would observe a certain decorum. But with the heart book, everyone was plunging in: ‘Don’t forget to put in this poet or that artist.’ I decided that maybe when you’re writing out of a shared culture, people feel perfectly free and even obligated to contribute."

While a sense of shared culture permeates Heart, for the author, there are personal contexts at play in the book as well. One of the most poignant chapters in the narrative is about heartbreak and includes the story of Godwin’s half brother Tommy, who died during a shooting incident in 1983. Godwin had written about his death before in her book, A Southern Family.

"A Southern Family was a huge novel, and this chapter in Heart was a completely different take on what happened," she explains. "I learned more about what a broken heart means and what grieving means just from writing this part of the book. Maybe that’s a good instance of one of the blessings of nonfiction writing — you can get closer to something that really happened without having to disguise or design. You can still use all your imagination and try to illuminate mysteries, if not solve them."

Such were the gratifications of the nonfiction genre that Godwin has decided to do a sequel to Heart. "The next book will be about hospitality," she says. "I’ll treat it the same way I treated the heart, looking at all the ways hospitality has been perceived throughout the ages."

At the moment, Godwin is at work on a new novel called The Queen of the Underworld. "For the first time in my life, I don’t have a deadline," she says. "It frees me up, and I seem to work more. I’m interested to see how, having written Heart and found this new kind of circulation, it’s going to affect what I’m writing now. I think it’s going to permeate the fiction writing with more heart qualities," she says hopefully. "Things like zest, courage and taking chances at pain."

Publishers Weekly once described Gail Godwin as a mix of "mysticism and clear-headed practicality," a fusion of divergent forces that has proven a rich one for the author, whose novels Evensong and The Good Husband explorations of mortality and faith that mine the spiritual side…

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We invite you, dear readers, to peruse the pages of The Crimson Petal and the White, a deliciously Dickensian jaunt through Victorian London that smacks of the city’s seedier quarters. Full of scheming whores, surly servants, simpering society ladies and smartly dressed gents, the book’s as rollicking, bawdy and brilliant a yarn as aught that’s come out of the Empire since Mrs. Brown sat upon the throne. So settle your specs upon your nose, keep a cup of tea by your knee and take up Michel Faber’s tale. We promise Petal will not disappoint.

Indeed, Faber’s newest novel, a large-scale historical set piece that unfolds over 800-plus pages, is (pardon the pun) worth the weight. At once an old-fashioned entertainment and fiction of the highest order, it’s a profound and eloquent exploration of class and gender in Victorian-era society whose implications will resonate with modern readers. The book marks another innovative move for Faber, whose last novel Under the Skin a genre-busting narrative about an alien from outer space was hailed by critics on both sides of the Atlantic. Backpedaling a couple of centuries, Petal follows a large cast of classic British characters, at the center of which is Sugar, a smart, seductive 19-year-old prostitute who insinuates herself into the life of a wealthy perfumer named William Rackham. The self-absorbed William, driven by his lust for Sugar, pursues her with an air of lordly entitlement. She soon steals his heart, becoming privy to his business and family affairs.

And what a family it is. Henry Rackham, William’s devoutly religious brother, harbors feelings for Mrs. Emmaline Fox, a scandalously independent, good-hearted widow who ministers to London’s lower classes. And then there’s Agnes, wife of William, the consummate Victorian lady, delicate, nervous, dependent and completely deranged. Faber skillfully juggles these intersecting lives and multiple points of view to create a compelling social novel a narrative bolstered by his uncanny ability to channel female voices and his knowledge of London’s Byzantine streets.

Faber, who was born in the Netherlands in 1960, wrote the first draft of the novel 22 years ago, composing on a typewriter and correcting errors with paint, scissors and glue. But he set the novel aside, fearing no one in the publishing industry would bother with the ragged manuscript. Revising the book after two decades has enabled him to fully explore the complexities of class and custom in an age of ornate social ritual, an era when private desires simmered beneath public facades. BookPage recently corresponded with the author, who says shuffling between bed and computer while at work on Petal has left him disinclined to begin another novel. These days, short stories occupy his time.

The Crimson Petal and the White was recently serialized in the British newspaper The Guardian, which posted each episode on the web. Did it feel odd to send your work out into cyberspace in this way?
Michel Faber: I haven’t traveled into cyberspace to see it. I wrote it for myself, on paper. And I’m sure that if my work is destined to survive, it will survive on thin slices of tree, not as digital impulses flitting around in computers. Giving people a taste of my novel on the Internet is fun, but Bill Gates’ dream of a future where books no longer exist is the sort of folly that only someone who doesn’t appreciate literature could conceive. Books are meant to be held and taken to bed.

You’ve said that Petal combines the richness of Victorian prose with some of the effects that have been rendered possible in modern prose." What modern touches/effects do you feel you brought to the book, specifically?
The pace and density of the prose varies according to how fast I want the narrative to move. If you read Victorian pulp fiction the so-called penny dreadfuls" you’ll find they’re still a lot more verbose and ponderous than the spare, swift narratives of modern thrillers. In Petal, I could move from Dickensian richness to Chandleresque sparseness, as long as I handled the transition so smoothly that it wasn’t obtrusive. Another way in which Petal is utterly modern is in its social, political and psychological perspective. The story maintains the seductive illusion that it’s unfolding in 1875, but a lot of its insights are based on what we’ve learned since then, about feminism, child abuse and so on. Obviously the book is also much more sexually explicit than any Victorian novel was free to be.

You started the novel 22 years ago and put it away. What made you decide to have another go at it?
The first version of Petal was very grim, with Sugar getting crushed under the heel of Fate at the end, like a tragic Hardy heroine. I decided to give her more freedom, to give her a chance to be happy. In fact, I gave all the characters freedom to grow and develop. The original architecture of the book was sound enough to permit this.

Where did the idea of Sugar come from? With her intellect and wisdom, she makes William and most of the other men in the book look foolish.
Like Isserley [the alien heroine] in Under the Skin, Sugar isn’t as clever and together as she imagines she is. She’s sharp and well-read and resourceful, but there’s a lot she needs to learn. Her potential, and the emotional damage that threatens to kill that potential, are among the more autobiographical aspects of the book.

You were born in the Netherlands, moved to Australia and now live in Scotland. How did these moves shape your sense of the world and the concept of home, and how have they influenced your writing?
I don’t feel I have a home anywhere, which may be why some of my characters are so seriously alienated from their environment. Sugar and William are pretty much at home in London, though. If a story requires its characters to have roots, I give them roots. Authors have no right to impose their own screw-ups onto stories where they don’t belong. Each story knows what’s best for it, if the author will only listen.

I spoke only Dutch until I was seven, and in my shock at being dumped in an alien country I probably learned English better than I needed to. However, I think it’s possible to make too much of this idea that having to cope with a language change at a tender age leads one to have certain notions about communication. I think it’s family life, not nationality, that creates your sense of whether communication is difficult or easy, safe or treacherous.

Speaking of communication, we’re curious about your reluctance to do phone interviews. Would you care to comment?
When we communicate by letter/email, we know what the limitations are and we allow for them. Telephones are evil because they encourage you to imagine that you’re having a real conversation, when really you’re hearing disembodied noises coming out of a plastic doodad.

 

 

 

We invite you, dear readers, to peruse the pages of The Crimson Petal and the White, a deliciously Dickensian jaunt through Victorian London that smacks of the city's seedier quarters. Full of scheming whores, surly servants, simpering society ladies and smartly dressed gents, the book's…

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