The Long Body That Connects Us All by Rich Marcello

It is in the context of the larger chain of feelings that are equally felt by all and that everyone wants to feel as well.

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Title: The Long Body That Connects Us All

Author: Rich Marcello

Publisher: Langdon Street Press

Date of Publication: 9 January 2018

Rating: 5/5

A collection of heartfelt poetry to savour for every poetry lover.

“After that, he, just a teenager,

too young to know better,

did the only thing he could:

He followed.”
A piece of bark, porchwork, cowboy boots and everything ordinary is the subject of Marcello’s poetry collection The Long Body That Connects Us All. Yet, it is his poignant, powerful and observant style that pierces the words to make things extraordinary. The poems are written in three parts- In the Coming, Yab Yum and Aether.

The first part deals with the relations that tie people together and the various roles they play within these relations that define their existence. Though that fulfills their societal and familial roles but those are not enough to wade away existential woes. The focus is on the emotions felt at the birth of a grandson or the joys of playing in a tree house. It is in the context of the larger chain of feelings that are equally felt by all and that everyone wants to feel as well. The second part maintains the subtlety but engages in the tougher passions which are equally inescapable. It deals with everyday things, things of the here and now, in English class, observations on thanksgiving and so on. Yab Yum is the last poem in this section. The third part gets emotional and abstract. The poem The Long Body precedes Aether which is the last poem of that section and of the book as well.

The poems are short and easy to read. Images of hope, loss, maturity, sacrifice and helplessness are realised through those everyday objects that surround almost all of us. These objects receive a very different signification which is oriented to the poet’s personal experiences. Nothing is overdone or utterly romanticized and though realistic the verse flows with an ease that is commendable. The whole collection can be read in a single sitting if so desired though it’s not recommendable as the poems may appear simple but have realistic and ironic twists that seem to suggest at a lot more than what is written.

The collection is earthy and life like. Marcello observes the nuances of every other things around him and converts that into the emotions that resonate with those days or things. The collection also hints at a poet who has experienced as much as he has observed and is capable of soaking it all in. It is  merely a long body that connects us all and it is in these human connections that we redefine ourselves going on to prove that we’re all similar and part of the human race.

Profound and full of positivity.

“Belong to no one except yourself.

In times of great love, take a deep

breath and remember love is fullest

when you don’t lose yourself.”

Click the book cover to grab your copy. Happy Reading!

Freshwater by Akwaeke Emezi

They are every bit dark, sinister and respond only after having put through suffering. Like the snake sheds its skin, the spirits shed their old forms after the naming ceremony of Ada.

Title: Freshwater

Author: Akwaeke Emezi

Publisher: Grove Atlantic

Date of Publication: 13 February 2018

Rating: 5/5

freshwater

 

When a child is born the whole family remains involved with it. Chima’s next born Ada is no exception. She is the apple of every member’s eye. Ada is adored by all but little do they know that she’s special in a different way. Not just is she a fast learner, she’s also a bright and happy child with supernatural powers. Told from an initially confusing second person narrative, the story moves between the perspective of Ada and the spirits that reside within her.

A frightened Ada runs away when a coiled snake snarls at her during potty training in the bathroom corner. It is a similar snaky reptilian shape shifting figure in the image of an other worldly divinity that has been stuffed within her. These spirits are of the few who have been able to traverse the supernatural realm into the human world to reside within as individualistic masks. It is only in the second chapter that things start to get clearer when the coiled figures of ‘we’ identify themselves as the voices of the spirits. The child is often disturbed by their presence and is rattled in the middle of the night because of nightmares. What holds this enchanting story is its interesting narrative style. Emezi’s writing embodies lucidity to the core. It is as fluid and swift as a snake’s slithering maneuver. These spirits have been separated from the ‘brothersisters’ of their kind but each with a varied potentials and personalities just as it is with humans.

The story is highly desolate, very dense yet subtle at the same time. Certain lines can be picked up and hung around as universally true quotations. Almost each chapter leads to newer speculations that are never ending. “Love is almost protection enough” but at its heart the story dissects all kinds of love only to showcase the futility of loving in the face of difficult circumstances. There is only hurt, separation and more hurt to be braved. Anuli’s accidental run down by a truck is considered a sort of baptismal release of the spirit in the best possible fluid. The incident itself is dark, gory and graphic. Focusing on the couple Saul and Saachi who are both professionals and have a nuclear family. Their difficult financial status forces Saachi to work in Saudi Arabia as a nurse. Saul hates the money she makes but needs it. The woman takes up the role of the man as the bread earner of the family and Emezi proclaims that the best way to break a child is by taking the mother away.

These unnamed spirits take God like forms and like holy rituals are thirsty for holy sacrifice. These forces consider themselves Godly but they have none of God’s mercy, protection or forgiveness. They are every bit dark, sinister and respond only after having put through suffering. Like the snake sheds its skin, the spirits shed their old forms after the naming ceremony of Ada. Is she cursed or is the world? The pace of the story is moderate and easy to follow though very adventurous in a topsy turvy world. There is a constant cycle of birth and death, movement and invariability, sorrow piling upon sorrow with no little joys to steal from grim predicaments. What remains persistent throughout are the spirits. They are metaphoric of narcissism, self gratification and demons within our own selves, possession, spiritual awakening and teleportation. The metaphors function on several levels and are hard to do away with.

Though based on the ‘ogbanje’ things get darker as the narrative enters deeper into Igbo ontology. Moving to America is a whole new experience. Ada is a black person, sidelined and living on the margins of societal existence. University is not a pleasant experience as the treacheries of worldly pleasures take over her. Sins pile up as mountains but confession is a long way despite the fact that she’s guilt ridden. Forgiveness is not hoped for as it is hard to seek. The story remains disturbing throughout as Ada experiments with drugs, hormone pills, attempts suicide several times and looks schizophrenic and hallucinatory most of the time. The ‘we’ is not plural and the ‘I’ is not singular. The polyvocality infuses with the multiplicity of personalities which ultimately subsides into a single voice- the Satanic voice of evil whisperings:”…..and wallahi, I was unforgiving and petty and vindictive.”

Freshwater is almost like a fresh glass of water to a thirsty reader who’s waited too long to read something that’s never been done before. To sum down in a single adjective the story is ‘indescribable’. It is a sensual and breathtaking but must be read to be experienced. Freshwater is too mind boggling for a debut and will leave readers speculating over numerous abstractions like never before.

Surreal, mesmerizing and phenomenal.

Interview with Jen Fisch

I want to continue to bring people easy recipes, they may not all be 5 ingredients, but they will all be delicious and made with easy to find ingredients.

Jen Fisch, creator of the blog Keto In The City, is passionate about offering simple solutions for following the ketogenic lifestyle. She is a single, working mother who has battled autoimmune disorders for 20 years and has turned to the kitchen to find simple, delicious ways to make the ketogenic diet work for her busy lifestyle.

With a loyal Instagram following on her page @ketointhecity_, her growing YouTube channel Keto In The City, and hundreds of thousands of visitors to her blog KetoInTheCity.com, Jen is one of the top influencers in the ketogenic space.

She is not a nutritionist or trained chef, just a determined mom who searched high and low for a way of eating that would reduce the inflammation caused by her autoimmune disorders and allow her to feel like the very best version of herself. She lives with her daughter in Hermosa Beach, California.

 

jenfisch

 

Tee: When did you decide you wanted to write a cookbook?

Jen: I had been playing around with some different ideas on how I could share keto with more people and the opportunity came to me to write this book and it seemed like the perfect fit! I’m a single, working mom so I knew that I wanted to share tips on how to make keto work for a busy lifestyle.

 

Tee:  How has your journey been so far as a cookbook author who specialises in keto?

Jen: The writing process was a lot of fun for me. Creating 5-ingredient recipes that also taste really good is not easy, but it was a great challenge. I just really wanted to show people that keto can be easy and yummy at the same time.

 

Tee:  Your latest release The Easy 5 Ingredient Ketogenic Diet Cookbook is a #1 best seller in the Canadian Cooking, Food and Wine industry. How does it feel?

Jen: It feels amazing and it was such a great surprise! I am constantly blown away by how wonderful and supportive the keto community is and it is really amazing to hear from people all over the world who are making recipes from my book!

 

Tee: What is the keto diet all about? Can it be taken up by anyone who’s health conscious but without any health issues?

Jen: In short keto is a high fat, moderate protein, super low carb diet. It is called “keto” because when you drastically restrict carbs your body will begin to burn its own fat or ketones instead of sugar/carbs. The high level of healthy fats (avocado, salmon, grass-fed meats and butter, etc…) keeps you full and satisfied.

In my experience a lot of doctors aren’t super familiar with keto, but there are lists online of doctors and nutritionists who are educated on keto. I would recommend people look there for resources. Personally, I began keto to reduce the inflammation in my body caused by 2 autoimmune disorders that I suffer from.

 

Tee:  What other books do you intend to bring forth in the keto series?

Jen: I want to continue to bring people easy recipes, they may not all be 5 ingredients, but they will all be delicious and made with easy to find ingredients.

 

Tee: Though you’re not a nutritionist or a trained chef, what do you believe makes your book stand out and appeal to audiences?

Jen: I hope it is because people can relate to my journey as a busy mom. Keto can seem intimidating at first and I just try to break it down in super simple terms and show how it can work for real life.

 

Tee: How can readers reach you?

Jen: They can find my book on Amazon, Barnes & Noble and other retailers.

 

Read the review of The Easy 5-Ingredient Ketogenic Diet Cookbook: Low-Carb, High Fat Recipes for Busy People on the Keto Diet Here

 

Interview with Rob Widdicombe

Ultimately, though, the process of writing the book was liberating and empowering.  Revisiting that creepiness forced me to confront and process those old feelings once again which is a big part of the healing process, in my humble opinion. 

Rob Widdicombe was born on the Virginia banks of the Potomac River in a military hospital on a typical Wednesday. A former singer, guitar player and songwriter for Richmond-based bands The Wiggins and Flying Shovels, Widdicombe has held a variety of both day and night jobs over the years, including gas station attendant, landscaper, encyclopedia salesman, cab driver, truck driver, maintenance man, cook, dispatcher, piano salesman, catering captain and paralegal. He received an MFA in writing from Sarah Lawrence College and his interests include staring out the kitchen window and falling asleep on the train. He also likes monkeys, clowns, robots, thunderstorms, chocolate, cheese, coffee, thrift stores, existentialism and tiny things.

Rob Widdicombe's Face

 

Tee: How did you come up with the idea for this novel?

Rob: There was a news story some years back about a grown man who went on a quest to confront the pedophile who molested him when he was young.  But instead of having a satisfying, cathartic confrontation, he ended up getting arrested for stalking the pedophile guy.  The idea of that type of confrontation appealed to me and the idea of it somehow going all wrong and backfiring really appealed to me.

TeeHow long did it take you to write it?

Rob: About fourteen years, on and off.

 

TeeWhat kinds of books do you enjoy reading?
Rob: Old noir crime fiction, magic realism (really just Marquez), short stories by Thom Jones and Tobias Wolff.  Anything that has some life to it, some truth and humor, really.  I don’t care much for pretty, literary writing unless it has some raw honesty underneath it, something you can really sink your teeth into.

 

TeeYour book revolves around the theme of paedophilia. What made you come up with such a theme. How difficult was it to deal with this theme in your book?
Rob: Like so many others, I am an adult survivor of childhood sexual abuse, which is the true “inspiration,” (for lack of a better word), for the novel.  I found writing the book to be highly therapeutic.  It wasn’t difficult to deal with pedophilia as a theme per se, although the pedophile character in the book is based on the real pervert who molested me, so writing him felt creepy at times.  Ultimately, though, the process of writing the book was liberating and empowering.  Revisiting that creepiness forced me to confront and process those old feelings once again which is a big part of the healing process, in my humble opinion.

TeeHow did you go about your research for this book?
Rob: Aside from fleshing out some minor details, (e.g., the exact type of motorboat owned by one of the characters), I did not conduct any research.  I lived the life of these characters in Richmond, Virginia, where the novel mostly takes place.  And as I mentioned earlier, I was sexually abused as a child like the main character, so I had that experience to draw on.  So, you might say that my biggest source of research was my own mind.  And of course, I made a lot of stuff up.

Tee: What are you writing next?
Rob: I’m writing a comedic novel about a perfectly harmonized futuristic society in which there is no disease, the water is sparkling clean, sadness is illegal and death arrives painlessly as you sleep on the night of your 86th birthday.  Of course, all is not as wonderfully utopian as it seems…

TeeWhat according to you are the pros and cons of the indie publishing industry?
Rob: I’d say the number one pro is independence.  I had the absolute final say on what went into my book and onto the cover.  My wife and I designed the cover ourselves.  I have a great indie publisher, Saltimbanque Books, and its owner/editor Jim Boyett had very helpful and extensive input, but I ultimately had the final say on everything.  Another pro would be the feeling that your destiny is in your own hands.  That could also be a con, though, of course!

I think it’s safe to say that some of that independence might be compromised if you were signed to a major publishing house that provided manufacturing, distribution, advertising and marketing support, but it’s really hard to know what’s going on nowadays exactly.  Those big houses seem to want you doing a lot of this stuff yourself, anyway.  Everything is changing so fast, what might be considered a pro of indie publishing today could be a con tomorrow, and vice versa.  Right now I think it would be a pro to have the support of a big publishing house, but it would also be a pro to be a billionaire, have wings, everlasting youth and clear skin.  These opportunities aren’t falling off of trees, which leads us to one of the big plusses of indie publishing: it’s there for you when those apples are out of reach.  And for all we know, indie publishing of the future could be the dominant force and what used to be known as big publishing houses could either disappear or serve as a kind of support system for independent authors and small publishers.  Kind of like Planet of the Apes, where in the future, the apes take over.  But who knows what will happen.  The only thing you can say for sure is that media in general is changing at supersonic speeds – the way content is created, distributed and consumed.  People are trying to keep up with it all but it’s an almost impossible task.  I think you can say with some measure of certainty that 10 to 20 years from now, the world of book publishing will look quite different than it does today, as will probably everything else.

 

TeeHow important is a catchy title for any book?

Rob: I guess it depends on what you want the title to do for you and your book.  If you want the title to grab a prospective reader’s attention and inspire them to purchase the book, then I’d say a catchy title is very important.  If you don’t care so much about sales and marketing and attracting a readership, etc., and you just want the title to reflect what the book is all about, then thoughtfulness and relevance become more important than catchiness.  I suppose that the perfect title would capture both ends of that spectrum.

Read the review of Cold Plate Special Here.

 

Interview with Dr. Arthur Wenk

Retirement has allowed me more time to write.  At present I am working on a book about the movies called Through the Lens:  How Great Directors Tell Stories, which gives me the opportunity to read books and articles and watch DVDs on fifty films.

During his twenty-year career as a musicologist, Arthur Wenk published books on Claude Debussy (Claude Debussy and the Poets; Claude Debussy and Twentieth-Century Music) and music bibliography (the prize-winning Analyses of Nineteenth- and Twentieth-Century Music and Musical Resources for the Revised Common Lectionary).

Later he drew on his experiences as a university professor, church organist, choral conductor and pianist to produce a series of mystery novellas featuring musicologist Axel Crochet as sleuth: (The Quarter Note Tales; New Quarter Note Tales: Axel in Quebec; Axel Crochet: Musicologist-at-Large; and Quarter Note Tales #4: An Axel Crochet Trilogy).   Other books include A Guide to the Bookstores of Toronto, La Musique et les grandes epoques de l’art, and Camerata: A Guide to Organizing and Directing Small Choruses.

 

Dr. Wenk’s subsequent careers as calculus teacher and psychotherapist have led to public lectures on graphing calculators, Geometer’s Sketchpad, parenting and communication, separation and divorce, opera, western culture, and film. Since his retirement in 2014 Arthur Wenk lives in North Fort Myers, Florida and Lagoon City, Ontario.

 

Mountains

 

Tee: What are your previous publications (non- academic) about?

Art: I have often written books that I felt filled a gap.  A lover of bookstores, I wrote a series of reviews that turned into A Guide to the Bookstores of Toronto, based on visits to all 250 of them.  (Sadly, most of those beloved establishments have now disappeared.)  As a church organist and choirmaster, I felt the need for a book that would connect me with tools for choosing hymns, anthems and organ music.  Since none existed at the time, I wrote Musical Resources for the Revised Common Lectionary, about which one reviewer said:  there are three books that every minister and music director should possess—the Bible, the hymnal, and Wenk’s book of musical resources.

Libraries contain many books on choral conducting, but I believed that, based on my thirty-five years as a conductor, I had insights to offer that were not to be found in any of these books, hence Camerata:  A Guide to Forming and Directing Small Choirs.  All my life I wanted to get a sense of the “big picture,” so once I retired I had time to write The Matrix of Western Culture:  Perspectives on History, the Arts and Ideas.  The same goes for my recent book, A Brief History of Classical Music:  A Tale of Time, Tonality and Timbre, a work intended not for academics but for the general public.

Tee: How long have you been writing fictional and non- fictional pieces?

Art: I have always loved to write.  I can identify three specific influences on my writing.  In my freshman year at Amherst, I had to write three one-page essays a week for a professor who criticized them fairly but vigorously.  We had the option of rewriting any paper to improve it, based on that criticism, so I rewrote constantly.  (I should mention that in these pre-internet days my only tool was a typewriter.)

The second major influence came during my final year at Cornell where a French professor read my doctoral dissertation.  Each week I would come to him with a forty-page chapter, and each week he would turn back my previous chapter, heavily marked up with his exquisite calligraphy.  I often found the process frustrating:  here I was writing as carefully as I knew how, but I felt as if he were reading even more carefully than I was writing.  (This dissertation turned into my first published book, Claude Debussy and the Poets.)

Some years later my best friend, knowing my passion for murder mysteries, suggested that I try my hand at writing one.  Many other people had already made this suggestion, which I rejected because I believed my writing could not measure up to that of the authors I most admired:  Arturo Perez-Riverte, Rennie Airth, Stephen Booth, Henning Mankell, et al.  But when your best friend makes a suggestion, you tend to take it seriously, which in this case meant purchasing three books on mystery-writing.  “I could do this,” I thought after reading them, so I set out to write a novella with a musicologist sleuth and after finishing it, wrote two others.  Eventually I found a publisher, Wingate Press in Stratford, Ontario.  By the time I completed my second set of mystery novellas, Wingate Press had gone out of business (I don’t think my book was responsible), so I self-published with iUniverse.

Tee: How do you manage non- academic writing with your strenuous academic schedule?

Art: My twenty years in academia were not entirely happy.  As a kind of free therapy, I would turn my pain into humor in the form of the Biweekly Chronicle–what you might now describe as a kind of pre-internet blog–that I would photocopy and send to my friends via snail mail.  After surviving an enervating faculty meeting, for example, I would return to my apartment with the thought, “That was unbearable …. but it’ll make a great story for the Chronicle.”  I didn’t need to invent anything:  I just wrote down my detailed recollections, perhaps embellished a bit here and there.  Years later, when it came time to write my murder mysteries, I just had to invent the murders.  The background material was all there, just waiting to be exploited.  So when readers chuckle over a “Sudden Service” sign in a California laundry, or the practice of replacing lawns with green concrete, those are not fiction—my imagination isn’t that good—but actual details culled from the Biweekly Chronicle.  And my peripatetic career has taken me to many locations, including San Bernardino, Boston, Pittsburgh, Durham, Bloomington, and Québec City.

Retirement has allowed me more time to write.  At present I am working on a book about the movies called Through the Lens:  How Great Directors Tell Stories, which gives me the opportunity to read books and articles and watch DVDs on fifty films.

Tee: What kinds of books do you personally enjoy reading?

Art: I love David M. Shapard’s annotated versions of Jane Austen’s six novels, and continue to read murder mysteries before sleep every night (now adding Lee Child, Michael Connelly, Ian Rankin, Carl Hiaasen, Scott Turow and Charles Todd to the earlier list of favourite authors).  The Matrix book offered me the opportunity to read books on art, literature, music, science and mathematics, philosophy and theology, history and social sciences in each century from ancient Greece to the present.

There are so many books to read that I welcome guidance in my selections.  The New York Times recently published a glowing review of a new translation of The Odyssey by Emily Wilson (the first by a woman!).  I read the book with enthusiasm, then decided, with The Odyssey in recent memory, to wrestle my way through James Joyce’s Ulysses again.  Up north, I am grateful to the Ramara librarian whose book club selections have brought me such unanticipated delights as The Goldfinch; The Storied Life of A. J. Fikry; Come, Thou Tortoise; and The Unlikely Pilgrimage of Harold Fry.  The History Book Club, that I founded here in Ft. Myers, is currently considering a list of 100-odd “best history books of 2017” in choosing the eight that we will read and discuss next season.  Thomas Foster’s two books (How to Read Novels Like a Professor and How to Read Literature Like a Professor) have led me to authors I had overlooked or never heard of, including Boyle, Doerr, Hemingway, Niffenegger and O’Brien.

Several times in my life I have had to undergo the painful process of deaccessioning.  In Pittsburgh I once gave away 2500 books.  After leaving academia I donated my entire collection of music history books and scores to a university library, to avoid daily reminders of the end of a beloved career.  My personal library underwent a similar loss when I retired from an Oakville house to a Lagoon City condo.  But my new condo in Florida has lots of shelf space, so I look forward to reuniting my northern and southern libraries and hope never to give away another book.

Tee: Have your students read your books? What did they have to say?

Art: At the moment I am offering a six-lecture series based on the Matrix book to the Lifelong Learning Institute associated with Southwestern Florida State College.  Last week, after my presentation on the 13th century, one woman, noticing the lacuna for “history” in that century, proposed adding The Travels of Marco Polo.  I have since purchased that book and look forward to writing about it for the next edition of the Matrix book.  Another woman, who attended the series of lectures that eventually turned into A Brief History of Classical Music, said that she’d learned more from my talks than from several years of theory courses at the University of Toronto.

Tee: What tips will you give any aspiring writer?

Art: Prior to accepting Claude Debussy and the Poets for publication, the University of California Press sent the manuscript out to readers and then shared their critiques with me (anonymously, of course).  Being somewhat defensive, I spent a lot of time at the library seeking material to refute their remarks before the French professor mentioned earlier set me straight.  “Look, Art,” he said.  “This man has gone to a lot of trouble to offer you suggestions.  He didn’t have to do that.  If someone is willing to give you constructive criticism, embrace it gratefully.”  So aside from the usual advice to rewrite, rewrite, rewrite, I would pass along the words my of mentor.  If you can find anyone who will read your work, extract any wisdom you can from any criticism offered, and use it to become a better writer.

Consider your audience.  I have always tried to emulate Donald Jay Grout, my musicology professor at Cornell, who strove to write in a way calculated to enlist the interest of the “intelligent common reader,” that ideal creature.  This encomium has steered me away from subjects that I could not imagine the common reader tolerating but has led me to seek clarity and connectedness in my own writing.

The Cornell French professor I mentioned earlier advised me to think of writing as a double funnel:  you begin with the whole world, then funnel down to your particular subject, write about it as engagingly as you can, and then open it back up again to the entire world.

Tee: How can your readers reach you?

Art: The best way to reach me is by email, arthurwenk@outlook.com.  Anyone interested in my career can find details on my website, www.arthurwenk.ca.

 

Read the review of The Quarter Note Tales Here.