Richard Munson’s splendid biography of Benjamin Franklin provides an insightful view of the statesman’s lesser known accomplishments in science.
Richard Munson’s splendid biography of Benjamin Franklin provides an insightful view of the statesman’s lesser known accomplishments in science.
Lili Anolik’s Didion and Babitz is a freewheeling and engaging narrative about two iconic literary rivals and their world in 1970s Los Angeles.
Lili Anolik’s Didion and Babitz is a freewheeling and engaging narrative about two iconic literary rivals and their world in 1970s Los Angeles.
With its seamless integration of gardening principles with advanced design ideas, Garden Wonderland is the perfect gift for new gardeners—or anyone in need of a little inspiration.
With its seamless integration of gardening principles with advanced design ideas, Garden Wonderland is the perfect gift for new gardeners—or anyone in need of a little inspiration.
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In her lovely new memoir, My Salinger Year, Joanna Rakoff takes readers on a tour of mid-1990s New York City—from the hallowed halls of an esteemed literary agency to the not-yet-gentrified streets of Williamsburg—as she settles in to her first real job.

What inspired you to write the book? Is there any significance to the timing of the publication?
This is a surprisingly difficult and complicated question, as My Salinger Year could also be called “The Book I Kept Trying Not to Write!”

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Renowned biologist and animal behavior expert Janine Benyus has compiled the ultimate reference guide for zoo lovers with her new book, The Secret Language of Animals. This lovingly researched guide is divided geographically into five sections, from Africa to the poles, and focuses on each area's most watchable animals.

We asked Benyus a few questions about misunderstood animal behaviors and the role of zoos today.

What motivated you to write this book?
All of my books are about people getting outside and interacting with the natural world. I remember reading a statistic that a greater number of people go to zoos than to all sporting events combined. Zoos are how most people connect to the natural world. People only begin to care about something when they get to know it, so conservation begins with affection. If you want to reach a large number of people, you have to go to the zoo going population. An afternoon spent watching an elephant or an otter is a teachable moment. People are curious about what they are witnessing, but they don't always have a zookeeper right there. My question was, could I write a Berlitz guide to zoos and offer the translation skills of a biologist or zookeeper? Something that would give zoogoers the information they needed to really absorb the life of the animal in front of them?

People only begin to care about something when they get to know it, so conservation begins with affection.

When did you become interested in animal behavior?
I grew up in New Jersey, so I just had a backyard, but a backyard was enough of a wilderness for me. Kids just need a little green nearby. I was a budding scientist and spent a lot of time absorbing details, like where woodpeckers made their nests, or where the rabbits would hide out. I got to know the animal families. Here’s where a caterpillar has formed a cocoon and if I come back tomorrow I might be able to see it transform into a butterfly. I’d started following the squirrels in the trees and then the hawks following the squirrels. I would just spend hours of my childhood watching their Wind in the Willows kind of drama.

I actually believe that people are fascinated by science, but they want to read about it in a way that’s enjoyable and immediately relevant.

I also read some formative books as a child, and my favorites were The Wind in the Willows, Shaggy Coat and Hunting with the Microscope. Shaggy Coat was about a family of beavers and it really taught me the joy of observation. My view went from large to small when my Dad went to Edmund Scientific in New Jersey and bought me a microscope. These two books basically translated for me in layman’s terms what these organisms were doing, and it was written in a way that a kid, even 10 or 11-year-olds could grasp and understand it. I thought to myself that I would like to do this for other people—explain how wondrous life is, and let people in on the latest scientific findings. I actually believe that people are fascinated by science, but they want to read about it in a way that’s enjoyable and immediately relevant. They want to know about an ecosystem when they are picnicking in it, and that’s really how field guides should be organized, by habitat. Instead of carrying around a dozen guides—one to birds, one to butterflies and one to mushrooms—you should be able to carry one book and when you went into a marsh, you turn to the chapter on marsh and learn about the plants and animals that you are most likely to see there. So that’s what I did with my Wildlife Watcher’s Guilds to Habitats of the Eastern and Western US. This book has a similar premise about teaching in context. While you are watching the animal—at the zoo, in its habitat-based exhibit—is the best time to see why it has the adaptations it does in order to fit into its place. At the zoo, you can really start to get an insight into the survival values of that physical trait or behavior. Being generous with scientific knowledge to me means translating and giving it to people at the moment they need it and making it really relevant to them.

Have you ever observed an animal behavior that made you laugh out loud?
I was in Yellowstone one winter—a great time to see wolves and wolf packs. They are visible from the road, and you can follow them all day long as they travel the rolling floodplains of the Lamar Valley. On this day, there was a wolf pack feasting on an elk, having a good time and sort of relaxing and just being. At one point, this small, teenage male wolf left the pack unnoticed and went across the road and down to the river. The wolf was all by itself and it decided to play with a buffalo—a huge old bison just trying to sleep. The wolf was trying its best to get the buffalo to play. This is a great example of the kind of highly visible animal behavior that is described in the book. Wolves do what is called a “play bow,” with their front legs outstretched, their head down and their butt up in the air, tail waving. There the pup was, bowing to the bison with this happy smile on his face.  

I was watching him through the spotting scope and the buffalo was ignoring the pup, pretending to sleep. The wolf kept getting closer and closer and began yapping and play bowing. All of a sudden this buffalo had had enough, and it just stood up—and they’re amazingly fast, buffalo, even though they have so much bulk—and he just towered over this little wolf. The wolf leapt into high gear, running like one of those funny cat videos on YouTube, around and around in circles before racing away to safety. Several hundred feet downriver, he finally sat down to catch his breath. Slowly, I watched his demeanor change again as he realized, oh my god, I’m not with my pack. He looked incredibly forlorn, and there, taking up the whole of my viewfinder, he lifted his head and started to howl for his pack. I didn’t hear any response at first, maybe because his parents wanted to make him suffer a little bit. Finally, they called back to him from across the valley and he figured out where they were and went scuttling up back to them. It was quite the reunion.

I think every now and then, it’s good to turn the tables, to have humans stay in the cage and let the animals have the space. To me, that’s the proper relation.

How have zoos evolved over the years? Are there any additional changes you would hope to see implemented?
In modern zoos, zookeepers try to create natural conditions in the exhibits through “habitat enrichment.” Zookeepers will hide food in branches, for instance, or give the animals nest materials that they can build with. But there’s a limit because of the limited space. I really love the safari parks in which people stay in their cars while the animals get to roam. I love this idea more than little enclosures for a couple of reasons. A safari park allows animals to get to know their habitat and perform more natural behaviors—you can see them do things like exploring, mating and marking their territory. When they’re able to get their own food every now and then, to catch a prey animal for instance, that’s when we as visitors really start to see their true grace and prowess. I think every now and then, it’s good to turn the tables, to have humans stay in the cage and let the animals have the space. To me, that’s the proper relation.

Are there some zoos that you’re specifically thinking of?
Well, there’s the San Diego Wildlife Park, which is absolutely tremendous. The zoo has not only the largest animal collection, but also the largest plant collection. What many don’t realize is that what you see at the most zoos—the front of the house—is just the tip of the iceberg. What zoos are doing behind the scenes is serving as an ark, preserving the genetic material of these creatures and trying to keep the species viable. Zoos are trying to pull species through these evolutionary knotholes that occur when species become very rare in the wild. In reality, the endangered species benefit from having their genetic material mapped, and for them, the “frozen sperm zoo” becomes as important as the living zoo. Zoos track the genetics of their collection and are vigilant about mixing that genetic material and keeping those organisms fresh genetically. The ultimate goal, if possible, is to release individuals into healthy habitats and naturalize them again. These sperm zoos are the last resort, pulling certain species from the brink of extinction. They’re like a modern day Noah’s Ark.

I am hoping for the day when humans are sharing more of our spaces with these organisms, so we’re able to reduce the habitat fragmentation, put the habitats back together, and bring the animals back to these habitats because animals are an essential part of preserving any habitat. For instance, in the rainforest, so many of the species of plants are dependent on animals eating the fruits and then dropping and planting the seeds. Sometimes the animals and the plants are in such a close mutual relationship that without the organism you’re not going to have the plant anymore. There’s a small rat called an Agouti that lives in Brazil and other parts of the Amazon. Agoutis are the only species able to open the hard outer casing of the Brazil nut, the skull-like packaging that holds multiple nuts. Agoutis have a specialized tooth and claw setup that breaks open the case. They eat some nuts and leave some nuts, and without the nuts they “plant” we wouldn’t have Brazil nut trees anymore. No agouti, no Brazil nuts; it’s that important to put organisms back in their habitats.

Many abnormal behaviors surface when animals are kept in captivity. What is a commonly misunderstood, captivity-induced behavior? Is there a way it could be corrected?
When you see a polar bear swimming at the zoo, you may notice something strange and repetitive. You may see them swim back and forth and back and forth, and this is called a stylized, pacing behavior, which is not really a natural behavior; it’s more neurotic than natural. Instead of the polar bear doing what it would normally do—swim long, long distances—it has to curtail its swimming. Animal behaviorists in zoos are really trying to prevent animals from engaging in those types of behaviors and it takes a lot of habitat enrichment to do that, so that’s one example of a sad consequence.

What's next?
I’m working on a new book about ubiquitous phenomenon in the natural world, patterns that researchers are just starting to piece together. These patterns repeat everywhere, in all five kingdoms and all around the world. When you ask, “what do all organisms have in common?” you get interesting answers—clues about earth-friendly chemistries, energy saving structures [and] cooperative networks—things that have lasted and that work well. Together these “best practices” are like a manual for how to live on this planet over the long haul.

Author photo credit: Biomimicry 3.8
Renowned biologist and animal behavior expert Janine Benyus has compiled the ultimate reference guide for zoo lovers with her new book, The Secret Language of Animals. We asked Benyus a few questions about the role of zoos today, misunderstood animal behaviors and what she's working on next.
Bill Geist, longtime television correspondent on "CBS Sunday Morning" and his son Willie, co-host on NBC's "Today" and MSNBC's "Morning Joe," share a passion for journalism, but their real common ground lies in appreciating the hilarious, absurd and just plain odd situations in the world around them. They might have skipped the requisite father-son talks while Willie was growing up, but they're finally getting around to them in their new book, Good Talk, Dad.
Interview by

As a new dad, Dave Engledow thought it would be funny to post a photo on his Facebook page that reflected both his new-father status—and his extreme fatigue. The response to that first photoshopped picture of Dave and baby daughter Alice Bee inspired a hilarious series of pictures that went viral—and are collected in a new book, Confessions of the World’s Best Father.

With Father’s Day approaching, we asked the self-styled “World’s Best” to tell us more about his photo project, his adorable daughter and his advice for other inexperienced dads.

What sparked your idea for this series of photographs?
I think it was probably the lack of sleep. I wanted to create an image that both captured the exhaustion I was experiencing while at the same time satirizing the stereotype of the clueless dad (which, to be honest, is a stereotype that was pretty accurate for me at the time). The "World's Best Father" mug was added almost as an afterthought to that first shot that portrayed me sleepily squirting Alice's milk into my own coffee.

How did you come up with the scenarios for each photo? How much help did you have during the planning or shoots?
Early on, the ideas were mainly inspired by my constant fears and neuroses—I was perpetually worried that I was going to be that guy you read about on the news who left the baby on top of the car on the way to work. Creating these photos helped me play out some of those worries. As the series has progressed, the scenarios have been influenced by everything from milestones in Alice Bee's growth to pop culture phenomenons like Gagnam Style. My wife Jen often helps me come up with the scenarios and provides a lot of help in adding small details to the scenes. I generally set up the scene and lights on my own, and then Jen helps make sure Alice is safe, happy, and performing the way we need her to for the shot. For the year that Jen was [deployed] in Korea, I had many different friends help me with the shoots.

Which photo in the book required the most elaborate production? What all was involved?
Probably the Cookie Stealing Investigation (CSI), which is a shot of Alice Bee wearing a cat burglar mask, sitting next to a pile of stolen cookies, hiding on a shelf in a darkened room. I am holding a blacklight, which is illuminating dozens of tiny hand and foot prints leading from the cookie jar to her location. This required my assistant-of-the-day Maggie and I to dip Alice's feet and hands in white paint, press her hands and feet on to plastic transparency sheets, cut out the hand prints and foot prints, and then strategically place the plastic prints in the scene, shoot, replace, shoot, etc until we had created the trail you see in the final image. The even harder part of the shoot was getting Alice Bee to wear the cat burglar mask—luckily, this was maybe the only shoot we've ever done where the very first shot of Alice Bee was perfect, so we only needed her to wear the mask one time. 

What’s the most surprising, interesting—or impassioned—response one of your photos has elicited?
We get LOTS of positive responses all the time from both parents and children all over the world who see something in the images that connect them to their own families. These are the responses we love the most and the ones that encourage us to keep shooting. However, the most impassioned responses we receive are generally from people who have not seen our work before and appear to not quite understand that these are intended as satire. I recently re-posted an image of a 15 month-old Alice Bee sitting on an outdoor grill, her feet on the grate next to a charcoal fire, preparing to flip burgers. A woman who had obviously never seen our work before kept commenting about how dangerous it was to have Alice Bee sitting on the grill, even when others in the comment thread tried to explain to her that it wasn't real. Her final comment was something along the lines of "Her feet could get burned—there are much safer ways for children to use the grill!"

How has the photo-taking process evolved as Alice Bee gets older?
We have to be more strategic in how we do the shoots, since she now has the ability to just get up and walk away if she's bored with what we're doing. We generally try to make it seem like a game to her—we'll start getting her excited early in the week ("Guess what? We're going to have a tea party on Saturday" or "You're going to get to play with a toy you've never played with before—it's called an Adding Machine") and try to make it as interesting as possible for her. My fantasy is that as she gets a little older, the two of us will come up with ideas together and we'll become partners in crime.

How are you keeping her grounded in light of her worldwide fame?
Luckily, Alice Bee does not yet fully understand that she is Internet-famous. I think she just thinks that it's perfectly normal to have an entire book with her pictures in it. In real life, Jen and I are in occupations that require us to set ego aside and we both do our best to be thoughtful, respectful and humble in our interactions with others. Hopefully, setting this type of example will help Alice Bee remain grounded once she learns that people all over the world know who she is. 

Your wife, Jen, appears in just a couple of the photos. Does she ever feel left out? What does she think about all of this?
Jen loves these images and is definitely a co-conspirator. She has been involved in some aspect of the creation of almost every single image in this series. She actually prefers to stay behind the scenes, but now that Alice Bee is older and more persuasive, the two of us have been able to convince Jen to appear in more of the images. Since her return from Korea, Alice and I have convinced Jen to appear in at least one image a month.

Do you have a favorite photo? Which one and why?
The very first image in the series is still my favorite. I think it perfectly captures the sleep deprivation and cluelessness I was experiencing at the time. It is also one of the only images in the series that was taken in a single shot, and every detail was painstakingly thought out in advance, from the color of my sweatpants to the angle of the milk stream. The only part that was serendipitous was Alice Bee's longing sideways stare at her milk going into my cup. 

Is the project ongoing? What’s up next for you and Ms. Alice Bee?
The project is still ongoing, with over 125 images in the series and counting. My goal is to keep doing it for as long as Alice Bee is game. For folks that follow our work on Facebook, we have a number of ideas we'll be exploring in the coming weeks, including Alice's current fascination with Wonder Woman.

As the world's best father, what advice would you like to pass along to your fellow dads?
There is no greater pleasure in the world than making your kid laugh. No matter how tired, frustrated, sleep deprived, stressed out, homicidal you may be feeling at the time, if you concentrate on generating those peals of tiny belly laughs, everything else will pale in comparison and those other feelings will rapidly disappear. That laughter the two of you will share together really is the best thing ever.

All photos copyright Dave Engledow.

ALSO IN BOOKPAGE: Read our Father's Day feature on gift books for Dad.

 

As a new dad, Dave Engledow thought it would be funny to post a photo on his Facebook page that reflected both his new-father status—and his extreme fatigue. The response to that first photoshopped picture of Dave and newborn daughter Alice Bee inspired a hilarious series of pictures that went viral—and have been collected in a new book, Confessions of the World’s Best Father.
Dante scholar Joseph Luzzi recounts his immigrant childhood and his complicated relationship with his parents’ homeland in a captivating new memoir, My Two Italies.
Interview by

The voice behind the popular web series “Ask a Mortician” exposes the grisly, hilarious details of working in a crematorium—and argues that everyone needs to be more closely connected to the realities of death.

Your book is often vividly gruesome—and just as often very funny. What do you think is the source of your “gallows humor”?
My parents are both very clever people. I grew up around humor. It just made sense to apply it to conversations about death and mortality. Especially since these heavy topics can often be easier to take in if they’re delivered with a lighter touch.

You write that the day-to-day realities of working in a crematorium “were more savage than I had anticipated.” What surprised you most in your first days at the crematory?
The bodies were savage, in the sense that I had never seen so many corpses in one place. But the real savagery was that the corpses were essentially abandoned. Our funeral home came to pick them up and take them away from their families and store them in a giant freezer. I was the only person there when the bodies were cremated. Most people have no idea they can be much more involved in the death care of the people they love.

Your obsession with death began when you were 8 years old and saw a child plunge from an escalator in a shopping mall. Working in the mortuary seems to have brought some resolution to your obsession. Was writing the book also cathartic in some way?
Absolutely. Part of writing the book was to let other people know that we’re all obsessed with death, to a degree. Death is the human condition, and it’s perfectly OK to be fascinated by it, perfectly OK to want information about what goes on behind the scenes. It’s not morbid, or deviant, or wrong. In a way, writing the book helped me to fully embrace that idea as well.

You’re critical of the modern American funeral industry. But you are also critical of Jessica Mitford’s landmark exposé of funeral home practices, The American Way of Death (1963). What’s your beef with Mitford’s book?
I try to make it clear that I have a great deal of respect for what Mitford did. However, I think she was so focused on subverting the old men of the traditional funeral industry that the book ended up being pro-direct cremation. Direct cremation (cremation with no services of any kind) is the cheapest alternative, but it doesn’t allow for something I believe we need, which is to care for and interact with our dead bodies. To have the body just disappear can hurt the grieving process.

You’re on a kind of mission in Smoke Gets in Your Eyes. Why is it so important that people have a closer connection with death?
I am on a mission! I would never claim to be an objective reporter. Death affects everything we do as humans, and we’re much healthier when we understand this. Other than television and film, we never see death any more, it’s not a part of our daily lives. We view this as “progress” but I don’t believe it is. We need the reality of death to remind us that we are not immortal, and our actions have real consequences.

 

ALSO IN BOOKPAGE: Read our review of Smoke Gets in Your Eyes.

This article was originally published in the September 2014 issue of BookPage. Download the entire issue for the Kindle or Nook.

 

The voice behind the popular web series “Ask a Mortician” exposes the grisly, hilarious details of working in a crematorium—and argues that everyone needs to be more closely connected to the realities of death.

Inaugural poet Richard Blanco talks about his hilarious and moving new memoir, The Prince of los Cocuyos.

Interview by

During Nashville's Southern Festival of Books, Karen Abbot was able to sit down and chat with us about Liar, Temptress, Solider, Spy, a book that details the lives of four women who bucked societal convention, risked their lives and became spies during the Civil War. 

What initially inspired you to tackle such a little known topic in American history?
I was born and raised in Philadelphia, and I moved to Atlanta in 2001. And I was really struck by the fact that they’re still fighting this war down there. It really sort of seeps into life and daily conversation in a way it never does up North. I was just shocked by the Confederate flags on the lawns and the jokes about the “War of Northern Aggression.” It was all sort of driven home for me one day when I was stuck in traffic on 400—if you’ve ever been to Atlanta you know what I’m talking about—and I was behind a pick-up truck with a bumper sticker that said “Don’t blame me, I voted for Jefferson Davis.” (Who was, of course, the president of the Confederacy). I was just sitting there shocked, and I was behind this truck for hours. It just gave me the opportunity to really start thinking about the Civil War. Of course, my mind goes to, “Well, what were the women doing? And not just what were the women doing, but what were the bad women doing, the defiant women?” I wanted to find four women who lied, wheedled, avenged, flirted, shot, drank and spied their way through the Civil War. And I think I found four who do that.

What was one of the most surprising things that you discovered during your research into these women’s lives?
There were a couple of things. One has to do with Emma, who disguised herself as a man and enlisted in the Union army as Private Frank Thompson. I was wondering, how did she get away with this? There were about 400 women for both North and South who reportedly disguised themselves as men and enlisted. I came to the conclusion that [they were able to get away with it because] no one had any idea what a woman would look like wearing pants. They were so used to seeing women pushed and pulled into exaggerated shapes with their corsets, and the very idea of a woman in pants was so unfathomable, that even if she was right in front of them, they wouldn’t recognize it.

And also just the way that women were able to exploit their gender. Their gender was sort of a physical and psychological disguise. Physically, they’re hiding dispatches and weaponry in their hair and their hoop skirts. As a psychological disguise, if anyone accused them of treasonous behavior or espionage, their response was, “How dare you accuse me! It’s unbecoming as an officer and a gentleman, I’m a defenseless woman.” But of course, they were the farthest things from defenseless women. 

Do you have any all-time favorite historical figures?
Oh, god. So many. Where do I even start? I think the Everleigh sisters, who are the subjects of my first book. They were two madams who were sisters and ran a world-famous brothel in Chicago in the early 1900s. They were really fascinating and enigmatic characters. Also, Anne Bonny and Mary Read, the female pirates. I love them, too. They often dressed in drag, and people didn’t know they were women. I mean, obviously I have something about women dressing in drag.

What’s next for you?
Well, I’m thinking about a novel, which would be scary because it’s the first time I would attempt to do it. I wrote about her for the Smithsonian, and I can’t give up my love of history and facts, so it would be based in the history of Cassie Chadwick. She was a con-artist in Gilded Age New York, and she sort of lied herself into New York society. And then she disappears. There’s enough about her to do a blog post, but there’s not enough nonfiction sources to do a full book. So it would be the first time I would have to add flesh to the bones. I can’t decide yet if it’s going to be liberating or paralyzing. But I’m going to give it a shot!

Any authors you’re looking forward to seeing here at the Festival?
One of my friends, Joshilyn Jackson. I think everyone should go see her and Patti Callahan Henry. Also Ariel Lawhon; I love her book. Those were my three big ones. Oh, and Daniel Wallace, who wrote Big Fish!

Are you doing anything fun while in Nashville?
I was going to try and honky-tonk, but I should probably save that for when I don’t have to work the next day. Next time, though. 


(Author photo by Nick Barose)

During the Southern Festival of Books, Karen Abbot was able to sit down and chat with us about her latest book, Liar, Temptress, Solider, Spy, which details the lives of four women who bucked societal convention, risked their lives and became spies during the Civil War.

After writing an award-winning biography of Frances Perkins (The Woman Behind the New Deal), former Washington Post reporter Kirstin Downey turns her attention to a woman with far broader influence: Isabella, the queen of Castile.
Interview by

More than 80 years ago, Laura Ingalls Wilder wrote Pioneer Girl, an autobiography about growing up on the prairie. Editor Pamela Smith Hill explains why the book is finally being published and what it means for Little House fans.

What were Wilder’s intentions with this autobiography? Who was she writing for?
Wilder wrote Pioneer Girl for an adult audience, hoping for initial publication in a prominent national magazine of the period—The Saturday Evening Post, Ladies’ Home Journal or Country Gentleman. Such magazines published longer fiction and nonfiction in serial form. If Pioneer Girl had been published in one of these magazines, Wilder then hoped to sell Pioneer Girl to a book publisher.

Why is it being published now for the first time?
When I was conducting research for my biography, Laura Ingalls Wilder: A Writer’s Life, at the Herbert Hoover Presidential Library, I overheard an archivist field a call from a Wilder fan who wanted to order a photocopy of Pioneer Girl. I learned then that the Hoover receives dozens of calls like that every year. And once A Writer’s Life was published, readers began asking me how they could get a copy of Pioneer Girl. It occurred to me then that perhaps it was time for an annotated edition of Pioneer Girl, one that would place the various versions of the manuscript into context along with the Little House series itself. I took the idea to the South Dakota State Historical Society Press, and together we drafted a proposal for the Little House Heritage Trust, which holds the copyright to Wilder’s work. Fortunately, the Trust also thought the time was right for Pioneer Girl.

Pioneer Girl played a key role in the development of Wilder’s fiction. Can you tell us a bit about how she adapted the material for her Little House novels?
Wilder used Pioneer Girl as the foundation for her Little House books. It gave her an overall framework for the series, as well as narrative material. But she expanded episodes for her fiction, adding more details, eliminating others. In Pioneer Girl, for example, Wilder wrote one brief paragraph about the cabin her father built on the Osage Diminished Reserve in Kansas. In Little House on the Prairie, Wilder devoted two entire chapters to its construction and the family’s move inside. Then she added three more as Pa completed the house, adding doors, a fireplace, a roof and floor.

Careful readers will also notice similarities in phrasing and key passages. Sometimes Wilder lifted a sentence or paragraph from Pioneer Girl and placed it, with virtually no changes, into her fiction.

What can Pioneer Girl teach us about Wilder as a stylist? Do you think her background as a newspaper columnist influenced the manuscript?
Pioneer Girl was Wilder’s first attempt at writing a long-form narrative, and she hadn’t yet broken free from the constraints of writing short, concise, but descriptive newspaper columns. This is especially true in the first third of Pioneer Girl, where many episodes are roughly the length of a newspaper column. As I point out in the annotated edition, words are a luxury for a newspaper columnist and Wilder had learned to use them sparingly. But as she gained confidence in writing a longer narrative, she added more details and lingered over key episodes in her family’s life—the grasshopper plague, for example, and the Hard Winter of 1880-1881.

Wilder had a complex relationship with her daughter, the author Rose Wilder Lane, who served as her editor. Did they view one another as rivals? Was there a sense of competition between them?

Rose Wilder Lane was a very successful writer of fiction and nonfiction in the 1920s and ‘30s. By the time Wilder began work on Pioneer Girl, Lane had already successfully published fiction and nonfiction in prominent national magazines, and was the author of several books. Wilder was proud of her daughter’s accomplishments and mentioned Lane specifically in a column about distinguished Missourians. Furthermore, it’s clear from existing correspondence that Wilder valued and trusted her daughter’s editorial opinions.

But friction developed between the two in 1931. They were living in houses about half a mile apart, and saw each other almost every day. By then, Wilder had finished revisions on Little House In The Big Woods—her first novel—and it was scheduled for publication in 1932. She had worked closely with Lane on this project from beginning to end, and was writing the first draft for Farmer Boy.  Meanwhile, Lane was working on a novel she called “Courage”; its main characters were named Charles and Caroline—and their story came directly from the pages of Pioneer Girl. Lane apparently didn’t tell her mother about this project until it was published by The Saturday Evening Post as Let The Hurricane Roar in the fall of 1932, just months after Little House In The Big Woods had been released. For Wilder, this must have felt like a personal and professional betrayal. She must have also worried that a frontier novel from a prestigious author like Lane would undercut the success of Little House In The Big Woods.

Still, the two women worked through this crisis so that just five years later, both were again working on novels that drew on Pioneer Girl—Wilder on By The Shores Of Silver Lake and Lane on Free Land. But this time around, Wilder’s career as a novelist was secure and Lane openly discussed plans for her book with her mother. By then Lane had moved away, and the two women corresponded regularly about their works-in-progress. Even Wilder’s husband Almanzo chimed in with advice for Lane’s book.

Can you provide some background on the Pioneer Girl project? Who’s involved?
At this point, the Pioneer Girl project extends beyond the book to include an extensive web site and marketing materials. Several staffers at the South Dakota State Historical Society Press created content for the web site, gathered and supplemented research materials, fact-checked my annotations, supervised the development of maps for the book and web site, collected visual materials and developed the book’s index. I’m indebted to the entire staff for their tireless and inspired efforts.

What are some of the challenges you’ve faced in producing a comprehensive edition of Wilder’s autobiography?
The sheer size and scope of the project were sometimes overwhelming. There are four distinct versions of Pioneer Girl, all of them with significant variations. Although I used Wilder’s rough draft as a base text, I had to closely review all versions and comment on significant variations between them. Then I had to relate the various versions of Pioneer Girl to Wilder’s nine novels. It sometimes felt as if I was annotating 13 books, not one.

Furthermore, Pioneer Girl is highly concentrated and condensed. One sentence in a single version of Pioneer Girl might inspire five or six annotations on a variety of historical, geographical, literary, or scientific subjects. I wrote annotations on everything from scarlet fever to tuberculosis, Mr. Edwards to Nellie Oleson (and the girls who inspired her), panthers to pocket gophers, back combs to hoop skirts, treaty violations to railroad construction, singing schools to the American minstrel tradition. And while I worked to keep these annotations brief, I also wanted to make them interesting for readers and worthy of Wilder herself.

What surprised you, as an editor, about Pioneer Girl? Wilder’s narrative voice? Her structural approach?
When I first read Pioneer Girl closely, I was struck with the variations in story and character—that Jack in the Little House series is largely fictionalized or that the real Ingalls family shared their home with a young married couple during the Hard Winter. After working on this project, however, I came away with a new respect for Wilder’s understanding of her pioneer material and her ability to shape it into a meaningful narrative—first as nonfiction for adults, then in expanded form as fiction for young readers.

As a researcher, I was also struck with the accuracy of Wilder’s memory. With rare exception, I found historical footprints for virtually everyone Wilder remembered from her childhood, no matter how obscure.

Do you think fans of Wilder’s fiction will embrace Pioneer Girl?
I certainly hope they will. Pioneer Girl provides new insights into Wilder’s life and her development as an artist. I feel deeply honored to have been able to work on this project, and introduce it to a larger audience.

RELATED CONTENT: Read our review of Pioneer Girl.

A version of this article was originally published in the December 2014 issue of BookPage. Download the entire issue for the Kindle or Nook.

More than 80 years ago, Laura Ingalls Wilder wrote Pioneer Girl, an autobiography about growing up on the prairie. Editor Pamela Smith Hill explains why the book is finally being published and what it means for Little House fans.
The author of a new book on Perry Wallace, who broke the color barrier in SEC basketball in the 1960s, explains why he decided to tell Wallace’s little-known story.
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Eleven years ago, Claude Knobler and his wife, who had two children, decided to adopt a 5-year-old boy from Ethiopia. In More Love, Less Panic: 7 Lessons I Learned About Life, Love, and Parenting After We Adopted Our Son from Ethiopia, Knobler explains how his struggle to turn the wild, silly, loud and “too optimistic” Nati into a quiet, neurotic Jew like himself forever changed the way he approached parenting.


Daniela and Lucy Weil (left) and Claude and Nati Knobler (right). Photos © Erik Zanker and Claude Knobler.

I have an adopted daughter from Ethiopia, too. She’s 8 and very much like Nati. She is loud, outgoing, silly, fearless and chronically happy. I sometimes try to tone her down, but, like you, I think I might be turning her into a “neurotic Jew.”
It's funny. I think with every kid you learn that they are who they are. It's just that when you adopt a child, you learn it a bit quicker. Our son Clay was exactly who he is from the day he was born, but it wasn't until we had our second child, our daughter Grace, that we really started to see that you can parent all you want, but your kids have their own personalities from day one.

Then . . . we adopted Nati, who was exuberant and giddy and silly, and we really realized that no matter what we did in the name of parenting, he was going to be exactly who he was going to be no matter what we did. There was just no way we could turn this silly Ethiopian 5-year-old who loved shouting and practical jokes into a young Woody Allen—which really makes parenting easier. Because you can just enjoy them for who they already are without worrying about whom you want to turn them into.

You can have long arguments with a toddler about how important it is for them to share their cookies, or you can get in the habit of being a generous, decent person in front of them.

The first lesson you learned is how it's better to influence, than to control. Let's talk about control.
Or about not having any! My wife and I were sent all these videotapes with 10-second snippets of kids saying their names. We had no idea how you could actually choose a child. And then we got this tiny photo of a little boy, and when we saw him on a video, we all just knew. Even when we were in charge, we had no more control than we did with our first two kids! The way we were given to go about “choosing” Nati was strange, but it really also was a good way to start seeing how little control we had.

As parents, it's so easy to make yourself and your child miserable “for their own good,” when really trying to control my kids is often just my way of dealing with the anxiety every parent feels. We love our kids so much that we can't help but be afraid about so many things in their lives. You can have long arguments with a toddler about how important it is for them to share their cookies, or you can get in the habit of being a generous, decent person in front of them. Most kids grow out of the worst kinds of selfishness on their own with time. Yelling at them and arguing with them won't make them better people. But they do watch what you do. Being able to let go of the idea that you can create a perfect child by being a perfect parent really can make your life and your child's life much gentler and happier.

I think when you're a biological parent, perhaps you have more expectations that your kid will become some version of you. Like they'll play the piano if you're a musician. When you adopt, I think you accept from the get-go that this child will be what he/she will be. For me, it's been clear that I cannot hold onto my expectations of who she will become. Maybe she will never go to college. Maybe she's going to end up being a mountain climber, or in one of those jackass videos (the Jewish mother's nightmare). But I've made my peace with that.
Yes! I think that's true, but again, I think that while adoption can speed it up, that's the process that every parent goes through. Talk to any parent of two children and before long they'll tell you how their second child had a personality of its own as soon as it was born. Really what I learned with Nati was that I didn't want any specific thing for any of my three kids. I just want them to be happy—though I do hope your daughter doesn't become a mountain climber or appears in a "Jackass" video. But only because mountain climbing scares me. As do "Jackass" videos.

Oh trust me, it scares the heck out of me too. I have a terrible phobia of heights, and she's a fearless climber. But I never wanted her to inherit my fears, so when she was little, I’d pretend I was totally OK with the crazy stuff she was doing in the playground. The other parents would walk up to me and say "Excuse me, do you think it's OK for your kid to be on the roof of the castle?"
But it was OK for her. Better to let your daughter climb than to shout at her because you're worried she'll fall off a mountain three decades from now. She didn't fall off that castle did she? Because if she did, I'm going to have to re-write my book.

LOL!
In your book, you talk a lot about nature versus nurture, and it seems like nature is the overwhelming force that shapes a child. Do you see the nurture element in Nati's personality?

That's such a great question. I do think that kids are like watching those old Polaroid pictures after they come out of the camera. The image is already there; you just have to wait for it to come into focus. That said, I don't think we changed who Nati was, but I do think that the cumulative effect of the life we've led has changed and shifted him. I haven't parented Nati into being more mature, but the traveling we've done, the conversations we've had and most of all, being a member of this family and seeing how we share our lives has, I know, helped him grow into the remarkable young man he's become.

The most helpful part of your book to me was the image of Nati's biological mom, who was dying of AIDS, whispering in his ear a final goodbye which you witnessed before leaving Ethiopia. It reminds me to let go.
I'm sure it goes without saying that being with Nati while his mother said goodbye to him was one of the most powerful experiences I'll ever have. It certainly made clear to me that there can be a purity to love. In our daily lives, love can come out in so many strange ways. I nag my kids because I love them. I worry about my family because of the love I feel for them. But at that moment, Nati's mother wasn't telling him anything for his future, or trying to teach him anything, she was just being with him, connecting with him and loving him as purely as anyone ever could. And yet, I do think it's important to remember that you can't always live in that kind of moment. If you never lose your temper with your kids, then you're probably not spending enough time with them. I think, for me, it's important to allow myself to feel all of it; the love, the frustrations, the fears without believing what those feelings sometimes tell me. It's OK to feel frustrated with your child's behavior without believing that voice that says, “How will she ever get a job as an adult when she'll always be this way?” It's possible to love your child with every fiber of your being and still step back and let them live their own lives as they mature.

A lot of what you say reminds me of the serenity prayer (God, grant me the serenity to accept the things I cannot change, the courage to change the things I can, and the wisdom to know the difference).
I did waste a lot of time as a parent trying to change what couldn't be changed and didn't need to be changed. I have a son in college now and once that happens you really do learn that while you think your kids are the entire book of your life, they're really just a chapter. They grow up and get their own lives, no matter how great a parent you are. And if you don't stop and enjoy all of their insanity and strangeness, then you've missed something wonderful. More love, less panic, because either way, whether you spend these years laughing or crying, they're going to be who they are and then they're going to go out into the world.

RELATED CONTENT: Read our review of this book.

Daniela Weil was born and raised in Sao Paolo, Brazil, and now lives in Houston with her daughter Lucy. Trained as a whale biologist, Weil is also a writer and illustrator whose work includes both children’s books and scientific illustrations. She is the creator of the web comic The World According to Lucy, which chronicles the experiences of an introverted adoptive mom parenting the fearless, free-spirited Lucy.

Eleven years ago, Claude Knobler and his wife, who had two children, decided to adopt a 5-year-old boy from Ethiopia. In More Love, Less Panic: 7 Lessons I learned About Life, Love, and Parenting After We Adopted Our Son from Ethiopia, Knobler explains how his struggle to turn the wild, silly, loud and “too optimistic” Nati into a quiet, neurotic Jew like himself forever changed the way he approached parenting.
Quirky and raw, Kevin Sessums’ new memoir, I Left It on the Mountain, has all my favorite survival themes, plus cameos from Hugh Jackman and Courtney Love.

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