The Pulitzer Prize Was Once Yanked From The Real Winner

Two of my favorite authors were involved in a scandalous incident that made Pulitzer Prize history. Edith Wharton’s loving but barbed evocation of Old New York, The Age of Innocence, won the Pulitzer in 1921. Very popular and critically acclaimed, it explored the world of her parents which she re-created brilliantly. Yet her book wasn’t the judges’ first choice.

Sinclair Lewis’s Main Street, a gigantic bigger best-seller, was originally picked by the three-judge panel. That novel swept the nation because it dared to make fun of small-town life, which at the time was as sacred as our flag.

Columbia University’s advisory board had the power back then to over-rule the decision, and it did, because Main Street was deemed “unwholesome.” Scandal broke out when the angry judges went public.

Wharton was embarrassed, but Lewis was gracious about his loss and they developed a friendship of sorts.  He admired her work and she thought he was one of the few American authors with “guts.”

Lewis eventually got to have a perfect vindictive triumph. A few years later he rejected a Pulitzer for another book.  A few years after that, he was the first American to win the Nobel Prize for Literature. Both events garnered him enormous publicity.

Main Street and The Age of Innocence deserved awards and are eminently readable classics of the early 20th century. But I’ve wasted too much time over the years with books pushed at me by people with the sole recommendation being their prize status.

I don’t care. Is the story-telling hypnotic? Is the voice compelling? Is the prose striking? Are the characters memorable? Is this a book I’ll lose sleep over? And is it something I’ll feel I haven’t read before?

Any of those will hook me. But I know from people who have served as judges for various contests and awards that prizes can be given to books for reasons that have nothing to do with their quality. The publishing world isn’t any less venal now than it was in the 1920s.

Lev Raphael is the author of 26 books in genres from memoir to mystery.  His forthcoming academic mystery is State University of Murder.  He teaches creative writing workshops online at writewithoutborders.com.

Who Says You Need to Go to an Elite University to Be a Success?

Reading all the current articles about kids getting into prestigious universities thanks to shady parents and corrupt officials, I find one thing missing.

Nobody seems to be talking about the importance of being mentored in college, and you don’t need a big name school to find a mentor. Back when I was applying for colleges, I chose Fordham University at Lincoln Center for one main reason: I’d heard there was a fantastic creative writing professor there and I wanted to study with her.  I was born and bred in Manhattan, but didn’t bother applying to NYU, Columbia or any other prestigious school in New York state.  I put all my chips on Fordham.

I won.  At Fordham I found the perfect mentor in Dr. Kristin Lauer.  Thanks to her, I’ve published over two dozen books, seen my work translated into 15 languages, had international book tours—and much more.  I’m not famous, but I’ve lived my dream of being a published author.

Dr. Lauer was endlessly encouraging and inventive in her choice of assignments. Beyond that, she was a model for how I would teach when I entered academia years later. She did not believe in pointing out everything that was wrong with your work, in bullying you like a coach, in making you tough because “the world is tough.” Her approach was to use humor and encouragement. She did her best to work from the inside out of your story or sketch, making you feel like she was communing with it, and communing with you.  It’s much harder than it sounds.

More than once, she predicted that I would publish and win prizes someday if only I wrote something “real.” That was my City of Gold, the mystical goal that I reached with my first publication in a national magazine. It was a story drawing on my own life as the son of Holocaust survivors, a story I needed to tell but was afraid to.

She midwifed that story. I would read a bit to her on the phone and she’d comment and then urge me to keep writing and keep calling her. The story won a writing contest judged by Martha Foley, then-editor of the yearly volume The Best American Short Stories, and was published in Redbook, which had 4.5 million readers at the time. It wouldn’t have lived without Professor Lauer’s dedication, commitment, and teaching genius.

Almost every time I’ve walked into a class or a workshop I’m teaching at a writers’ conference, she’s on my mind: muse, guide, inspiration.  I wasn’t interested in prestige when I was thinking about colleges in high school.  I applied to a school where I hoped I would find inspiration, and I hit the jackpot.

Lev Raphael teaches creative writing online at writewithoutborders. He’s the author of two dozen books in genres from memoir to mystery including a guide to the writing life, Writer’s Block is Bunk.  His author web site is levraphael.com.

Research is One of the Best Parts of Writing!

There are a lot of things I didn’t learn about writing as a career in my MFA program.  One of them is how enjoyable and even exciting researching a book can be.  And I don’t just mean tracking things down online or spending time in an archive.  I mean talking to experts.

Working on book after book, I’ve found how helpful experts can be, and how much they enjoy opening up about their fields of expertise.  One of the first was a county Medical Examiner I interviewed because my firts mystery had a body found in a river.  We talked about decomposition and a lot of other aspects of the situation, and went very deep (pun intended in our hour-long chat.

I’ve spoken with lawyers, cops, private investigators and have never found anyone unwilling to talk about what they do and love.  I tell them who I am and why I’ve contacted them and ask if they have time.  The majority of interviews get done in person, but once or twice I’ve had to work on the phone if the expert was an inconvenient distance away.

These interviews don’t just help ground my books in reality, whatever the genre, they also take me out of my own world into worlds I don’t know and find fascinating.

In my current novel-in-progress, music plays a role and so I’ve interviewed a cello played I know and a friend who’s played the piano for years, and a professor of piano at Michigan State University.  I have eight years of piano behind me, but don’t know much about repertoire and the kinds of issues professionals deal with and the talks have been fascinating.  I’ve also interviewed a fire chief and the head of an advertising agency.  Each one has been unfailingly generous with their time and of course will be acknowledged when the book comes out.

It may not take a village to write a book, but it definitely takes human resources who live in very different worlds than I do, and enjoy sharing their wisdom and experience.  Talking to them doesn’t just augment the reality of whatever book I’m working on, it almost always opens up new possibilities.  Better still, it breaks the isolation of writing a book, and that makes me very grateful.

Even if you’re shy, contacting the expert you want is easy via phone or email.  What’s most important is thinking out your questions in advance and being prepared for the book to go in a different direction or take on aspects you hand’t imagined, based on what you learn.  As Henry James advised a young writer: “Try to be one of those on whom nothing is lost.”

Lev Raphael teaches creative writing workshops online at writewithoutborders.com and is the author of 26 books in many genres including the forthcoming mystery State University of Murder.

My Life With Edith Wharton

Edith Wharton is often on my mind, and not just this week, which saw her 156th birthday.

I fell in love with Edith Wharton’s novels and short stories in college, given that I grew up in Gilded Age New York. The building on upper Broadway I was raised in was one of two massive apartment blocks built circa 1900 by Harry Mulliken with gorgeous tapestry brickwork and stone detailing, like Mulliken’s more elaborate Lucerne Hotel on 79th and Amsterdam.

The public library I visited every week was a Venetian palazzo designed by McKim, Mead, and White. It was a temple of books, a sanctuary, and a doorway to another more elegant world. Perhaps most enthralling for me as a young boy was our family’s regular bus route downtown: along Riverside Drive past one Gilded Age mansion, brownstone and apartment building after another.

The past was all around me as it might not be in other parts of New York City, and so discovering Wharton in college was like claiming part of my own history. I bought every single book of hers then available in Scribner paperbacks and read them many times, awed by her wit, her powers of description, and her sharp eye for hypocrisy and foolishness. In the summer of 1975 I read R.W. B. Lewis’s riveting Pulitzer-winning Wharton biography that launched the revival of her work, and through reading about Wharton’s life I felt even more inspired to pursue my own career as a writer.

That career of publishing in many genres has led me back to Wharton three times. In the early 90s I published a study of the emotion of shame in her writing and her life, something that had never been discussed before. A few years after Edith Wharton’s Prisoners of Shame, I invented two fictional Wharton societies and pitted them against each other in an academic mystery, The Edith Wharton Murders.

More recently, I re-entered her world in a whole new way.  Undoing Wharton’s anti-Semitic stereotyping, I’ve re-imagined The House of Mirth from the point of view of Lily Bart’s suitor Simon Rosedale, giving him a home, a family, a history, and a tormented heart. In writing Rosedale in Love, I haven’t tried to imitate Wharton’s style, but I have written the book in a period voice, after immersing myself in writings of all kinds from the early 1900s.

I don’t know how she would have felt about my novel, but for me, it’s been one of the most exhilarating adventures of my writing career.

Lev Raphael is the author of 26 books in genres from memoir to mystery.  After close to twenty years of teaching at the university level, he now offers creative writing workshops online at writewithoutborders.com.

Did Winston Churchill Really Say That?

Read any book about World War II and you’re bound to find inspiring quotes by Winston Churchill, along with some withering comments he made about rival politicians. One of his favorite targets was Clement Attlee who inspired these classic lines:

–A sheep in sheep’s clothing.

–A modest man, who has much to be modest about.

–An empty taxi arrived at 10 Downing Street, and when the door was opened, Attlee got out.

 

My multilingual mother–given to quotations in Latin, German and French–especially loved the middle one above. She also credited Churchill with the line “Every time he opens his mouth he subtracts from the sum total of human knowledge.”

When I looked for the source, the brilliant line didn’t show up anywhere on Churchill web sites. But there’s a cinematic connection: The Dark Horse, a forgotten 1932 political satire starring Bette Davis.

dark horseIt features a nitwit politician whose adviser has instructed him to answer tough questions with “Well yes, but then again no.”  The politician is classed as “so dumb that every time he opens his mouth he subtracts from the sum total of human knowledge.”

The line’s political lineage extends further back to the powerful Republican Speaker of the House Thomas B. Reed, who was nicknamed “Czar Reed.”

In 1909, Pearson Magazine no. 22 reported Reed explaining why he ignored one Representative while paying attention to another:

“Whenever A takes the floor, the House learns something, but when that fellow B speaks, he invariably subtracts from the sum total of human knowledge.”

We have to assume the line had filtered into political discourse enough so that the script writers of Dark Horse could use it to comic effect not too many years later.  Did Reed come up with it on his own?  At first it seems likely, since his recent biographer says he was renowned for his wit.

Teddy Roosevelt, though, would seem to get ultimate credit for the phrase.  Biographers Peter Collier and David Horowitz wrote that TR used it to dismiss an opponent on New York’s Civil Service Commission when he was the Commissioner from 1889-1895. He put down his rival with these words: “Every time he opens his mouth, he subtracts from the sum total of human wisdom.”

Theodore-Roosevelt_The-Talented-Mr-Roosevelt_HD_768x432-16x9Lev Raphael’s comic mystery series, set in the hothouse world of academia, has been praised by The New York Times Book Review and many other newspapers. You can find them on Amazon.  Lev teaches online writing creative workshops at writewithoutborders.com.

“Transcription” Is The Dullest WW II Novel I’ve Read In Years

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When I started reviewing crime fiction and other genres for the Detroit Free Press back in the 90s, I made an odd discovery.  Reviewers, friends, acquaintances would be raving about a book or an author.  I’d get a review copy and think, “Huh?  What am I missing?”  I remember one book that was hailed across the country in almost ridiculous terms, with one major reviewer gushing that it wasn’t just a book, it was an experience.

Well, isn’t reading every book an experience of some kind?

The second part of this discovery was that when I’d be out on tour for one of my own books, when it came time for Q&A, eventually someone would ask about one of these books the whole world seemed to worship and adore.  The questions always came a bit tentatively, as if it was heretical to even raise them.  I would be honest but focus on something technical.  For instance, with one wild best seller, I said I just didn’t believe the voice was the voice of a teenager.

I’ve been observing the love fest for Kate Atkinson for awhile. Friends have urged me to read Life After Life or Case Histories, and I just couldn’t get into them.  Then a best friend sent me three of her books as holiday gifts.  I picked Transcription because it was the shortest, and I was determined to finish it so we could discuss it.  This is the story of a young woman, Juliet Armstrong, drawn into the fringes of England intelligence in 1940. Her job is typing up transcriptions of bugged conversations of British Nazi sympathizers.  If it sounds dull, it is.

Nothing dramatic happens until halfway, and even then, the drama is relative. Eventually something more exciting does take place, but as WW II books go, this is a sleeper.  I have nothing against war novels that are literary fiction: One of my favorites is Helen Humphreys’ Coventry, which is poetic and intensely dramatic.  But Transcription was annoying in a number of ways.  Apparently shifting decades is one of Atkinson’s “things.”  I found it frustrating.  A straightforward narrative would have ramped up the tension.

But the narrative itself was more awkward and off-putting than the structure.  Juliet is given to incessant thinking about her thinking and to making silly puns.  When told to keep an ear out, she notes that she has two.  Hah.  Hah.  The trivial focus on her mental commentary is relentless and her observations are sometimes ridiculously banal: “But then, what constituted real?  Wasn’t everything, even this life itself, just a game of deception?”

There’s a plot twist at the end that doesn’t quite relieve the boredom of the previous 250+ pages. There’s also so much tea drinking that after awhile you begin to wonder if the book is meant to be some kind of spoof of British fiction.

After finishing, I found that a host of highly disappointed readers on Amazon found similar problems with the book.  Me, I read it out of loyalty to my friend, and finally out of morbid curiosity: could it really go on like this page after page?  It did.

With twenty years of university teaching behind him, Lev Raphael offers a range of creative writing workshops online at writewithoutborders.com “Studying creative writing with Lev Raphael is like seeing ‘Blade Runner’ for the first time: simply incredible.”—Kyle Roberts, Michigan

Are You Tired of “Femjep”?

Characters in thrillers–especially the women–seem to live in a parallel universe. A universe where they’ve never read a thriller or seen one on TV or in a movie theater. Because otherwise they wouldn’t behave like idiots….

Take Jennifer Lopez in the recent erotic thriller The Boy Next Door. She plays a high school teacher of classics–that’s right, and in a school offering a year-long course in Homer (the poet, not the Simpson). It’s one helluva well-paid job because she drives what looks like a Cadillac SUV.

Of course, who cares about reality since you’re either ogling Lopez looking gorgeous in every scene or drooling over ripped Ryan Guzman, the sociopath who moves in next door.  He befriends her nebbishy son, displays his body for Lopez at night in a well-lit bedroom across the way, seduces her, and then stalks her in escalating scenes of nightmarish threat and violence.

It all ends with bizarre family togetherness, but before that, Lopez goes dumb in major ways aside from having humped a high school sociopath. Her bestie phones Lopez to come over right away because she’s in trouble. When Lopez pulls up and the house is totally dark, is she cautious? Nope. Does she call first? No again. She rushes inside. When the lights don’t work, does she back out and dial 911? Well, you guessed it. She proceeds alone and unarmed into the large dark house, calling out her friend’s name.

And in her final confrontation with the psycho hunk, when she gets a chance to take him down, she clunks him on the head just once. When he’s knocked out, she doesn’t finish the job or even kick him a few times to further incapacitate him, despite knowing how dangerous and twisted he is. He’s tied up her husband and son, threatened to kill them both, killed her best friend, and was going to turn the barn they’re all in into a giant funeral pyre. So of course she turns her back on him.

And of course that one blow doesn’t do the trick. He predictably rises up and attacks her again, like one of those monsters in a horror or sci-fi movie that just won’t die. More mayhem ensues…and Lopez shrieks enough to win a Yoko Ono Award.

You’d think that after Scream had eviscerated this kind of plotting years ago, writers would be embarrassed to have their characters behave like dummies, but Hollywood keeps churning out femjep films. Sadly, this one was co-produced by Lopez herself.

Lev Raphael is the author of 25 other books in many genres, including the novel of suspense Assault With a Deadly Lie.  He teaches creative writing workshops online at writewithoutborders.com.

Why I Stopped Reading Karin Slaughter’s New Thriller

I’ve been reading and reviewing crime fiction for years but haven’t opened a Slaughter book in awhile.  I remember the last one I read had too much “femjep”–a term mystery writers and readers use the author putting a woman in ridiculously threatening situations.

Still, I was drawn into her new book Pieces of Her because the opening scene was reminiscent of one in Joseph Finder’s terrific High Crimes (though not as well done). Andy is a self-pitying young woman who’s failed to make it in New York after five years and she’s gone home to Atlanta.  She’s having a mall meal with her tough-but-loving mother when crazy violence erupts, her mother acts way out of character, and the daughter has to flee.

The shocking disruption intrigued me despite very confusing choreography, but the daughter’s reactions were annoyingly slow.  She’s the kind of character in a movie you keep yelling at: “Don’t open that door!” or “Turn on the lights!” or “Run outside, not upstairs!”  And in fact, her mother plays just that role, because Andy is too feckless to get her ass in gear despite her mother’s urgent commands.

But the whole I-just-saw-my-mother-do-crazy-shit motif really hooked me, even though the writing in the book can feel surprisingly amateurish. Here are some gems:

Her brain felt like it was being squished onto the point of a juice grinder.

The last few days had been like tiptoeing around the sharp end of a needle.

Andy’s head was reeling as she tried to process it in her mind’s eye.

Suddenly all of Andy’s nerves went collectively insane.

The editor in me started noting problems that went beyond Slaughter’s prose, mistakes that the author shouldn’t have made, mistakes a copy editor should have caught.  Both could have found the answers on Google, used wisely.

Churchill experts, for instance, will tell you that Churchill never said “Those who fail to learn from history are doomed to repeat it.”  George Santayana, however, did say “Those who cannot remember the past are condemned to repeat it.”  And Samuel Beckett is not best known as the author of “Irish avant-garde poetry” but as a playwright (Waiting for Godot) and a novelist.

Goofs like those in any kind of fiction throw me out of the story as much as iffy phrasing.  I start wondering how careful the author was in gathering her facts, and what other mistakes might lie ahead.  Here, the hot mess of errors and odd images almost kept me reading out of morbid curiosity–but the story got so convoluted and  repetitious that I finally gave up midway.

Lev Raphael is the author of twenty-five books in genres from memoir to mystery.  His latest book is the suspense novel Assault With a Deadly Lie.  He teaches creative writing online at writewithoutborders.com.

My Mentor is Always with Me

 

I write and review full-time, teach part-time, and my college mentor from years ago is with me in almost every class or workshop I teach.

I had dreamed of being a writer since I was in second grade, but it wasn’t until I took my first class with Kristin Lauer at Fordham University that I fell in love with writing itself.

Dr. Lauer was my first and best creative writing teacher and was endlessly inventive in her choice of assignments. But more than that, she was a model for how I would teach when I entered academia years later. She did not believe in pointing out everything that was wrong with your work, in bullying you like a coach, in making you tough because “the world is tough.”

Her approach was to use humor and encouragement. She did her best to work from the inside out of your story or sketch, making you feel like she was communing with it, and with you.

She said to me more than once that I’d publish and win prizes some day if only I wrote something “real.” That was my City of Gold, the mystical goal that I reached with my first publication in a national magazine. It was a story drawing on and transmuting my own life as the son of Holocaust survivors, a story I needed to tell but was afraid to.

She midwifed that story. I would read a bit to her on the phone and she’d comment and then urge me to keep writing and keep calling her. That story won a writing contest judged by Martha Foley, then-editor of the yearly volume The Best American Short Stories, and was published in Redbook. It wouldn’t have lived without Professor Lauer’s dedication, commitment, and teaching genius.

And I wouldn’t have had the career I’ve had or be the widely published author I am today, an author whose literary papers have been purchased by the Michigan State University Libraries.

Almost every time I walk into a class or leave one, she’s on my mind: muse, guide, inspiration.

Lev Raphael teaches creative writing online at writewithoutbordersHe’s the author of two dozen books in genres from memoir to mystery including a guide to the writing life, Writer’s Block is Bunk.