Ukraine Then & Now

If you want to understand the conflict in Ukraine and go behind the headlines, there’s no better place to start than Anna Reid’s Borderland: A Journey Through the History of Ukraine. Deeply researched, elegantly written, totally enthralling, the book explores the history of Ukraine  back to the Vikings and how Ukraine and Russia have followed completely different paths.  

Unlike Russia, which became an autocratic empire, Ukraine has been ruled and misruled by Poland, Lithuania, Austria-Hungary and of course Russia.  A key to the current slaughter of Ukrainians and the seizure of vast swathes of territory–as well as what sounds like crazy rhetoric on Russian talk shows–is a profound Russian delusion about this country that hasn’t been independent very long but has an undeniable historic existence, culture, and language.  Reid notes that historically Russians have regarded

Ukrainians as really just a subspecies of Russian…Any differences that did demonstrably exist between them were the artificial work of perfidious, Popish Poles–replaced in today’s Russian imagination by the meddling West in general.  Rather than attacking Ukrainians and Ukrainian-ness as inferior, therefore, Russians deny their existence.  Ukrainians are a “non-historical nation,” the Ukrainian language a joke dialect, Ukraine itself an “Atlantis–a legend dreamed up by Kiev intellectuals”…The very closeness of Ukrainian and Russian culture, the very subtlety of the differences between them, is an irritation.

That was written in the 90s; now the irritation appears to have turned to seething hatred.  

Blending history, personal exploration, and interviews, the book is unique because it is divided into two parts: the first was published in 1997 90s when a democratizing Russia under Yeltsin seemed highly unlikely to attack its neighbor.  The second, of course, was written after Putin launched his “special military operation” at a time when Russia seems like a fascist state to many international analysts–and certainly to Ukrainians who have experienced fascism under the Nazis.

Reid doesn’t pull any punches exploring Ukrainian antisemitism and pogroms or the country’s lack of readiness to face up to the truth the way Germany has done about the Holocaust.  Nor does she whitewash past governmental and cultural corruption.  Reid is especially adroit at discussing how Ukrainian nationalism has been growing stronger and investigating the role of the Ukrainian language in a country where many people have been bilingual and Ukrainians have Russian relatives and marriages are often “mixed.” 

If you’ve read Bloodlands by Timothy Snyder, Reid’s book is a perfect companion piece, vitally important work that has been superbly edited and updated. ★★★★★

Lev Raphael is the author of 27 books in genres from memoir to mystery and his work has appeared in over a dozen languages.  He has reviewed books for The Detroit Free Press, The Washington Post and a handful of public radio stations.

Classic War Novel

If you caught the recent Netflix film All Quiet on the Western Front and wondered about the book it’s based on, don’t hesitate to get the handsome Everyman’s Library edition. You’ll see why it’s considered one of the greatest war novels every written and more than that, you’ll be amazed at how it doesn’t sound translated.  The prose is that clear, that vivid, that compelling. Translation, bringing a book into another language and its culture, is an art and this version of the book is incredibly artful.

The story is simple and complex. Paul and his German schoolmates are basically bullied into signing up for the German army by their jingoistic teacher.  However patriotic they are, life in the trenches changes them utterly. 

Life and death aren’t topics to read about and discuss: they are both majestic and ephemeral. You can be killed at any minute by a sniper, an artillery shell, a mine–or crushed by a tank. Conversely, you can miraculously escape death by stepping out of a bunker for a smoke or an errand. 

The fear, the tension, the horror of seeing people die in myriad grotesque ways are like an acid bath.  The dark realizations hit him early and hard:

“We are no longer young men.  We’ve lost any desire to conquer the world.  We are refugees.  We are fleeing from ourselves.  From our lives.  We were eighteen years old and we had just begun to love the world and being in it; but we had to shoot at it.  The first shell to land went straight for our hearts.  We’ve been cut off from real action, from getting on, from progress.  We don’t believe in those things anymore; we believe in the war.”

Paul experiences one horror after another, loses friends, is wounded, has to kill or be killed, and one of the most amazing chapters of the book is the time he’s trapped for three days in a shell crater with a dying man.  But there are also surprisingly moving and even comic moments of camaraderie as he and his fellow soldiers bond around incredible events that soon become ordinary.

The novel is short, fast-paced, devastating and seems oddly current, given the network of trenches that Russia has built in occupied Ukraine.  Anyone interested in the history of WWI or amazing fiction should read this book. ★★★★★ 

Lev Raphael’s introduction to WWI was via a classic, The Guns of August, which he read one summer between sixth and seventh grade.  He recently learned that his paternal grandfather, murdered at Auschwitz, fought in that war.

 

 

Tribute to My First Editor

The famous New York editor who helped launch my book publishing career, Michael Denneny, is dead. He was a founding editor of the highly influential magazine Christopher Street, and in 35 years at Macmillan, St. Martins Press, and Crown published major authors like Edmund White, Susan Fromberg Schaeffer, and Buckminster Fuller while championing gay fiction and nonfiction.

I’d been publishing stories for over a decade before approaching this giant of LGBTQ publishing at St. Martin’s Press with a collection of gay stories, but he thought it was incomplete. He knew my work and asked, “Why don’t you bring all of yourself into the book: you’re gay, you’re Jewish, and you’re the son of Holocaust survivors. Nobody has ever written a book quite like that.” He was right, and we launched a beautiful partnership when he offered me a contract for the book that became Dancing on Tisha B’Av.

That book put me on the map, with dozens of reviews across the country and the Lambda Literary Award it won the year after publication. I’m the figure on the cover. I was doing heavy weights at the gym and Michael thought pairing my body with a skull cap would hit the right notes. It did. Another well-known editor, the late George Stambolian, told me it was “the cover of the year.”

 

Denneny had started at St. Martin’s Press in 1977 when there wasn’t a single mainstream publisher in New York bringing out gay books.  He soon became celebrated as the doyen in that field for hardcover originals and his line of Stonewall Inn Editions, handsomely produced paperbacks of gay fiction and nonfiction.

Michael was an amazingly hands-on editor. He had me bring copies of dozens of stories to New York and we sat on the floor in his bohemian living room and looked at what might fit, what could be left out, what order the stories should take to seduce and enthrall readers. But that wasn’t the end: he and I spent easily seven months after that going back and forth with revisions as he helped me hone each story to make it as clear and forceful as possible. It was a master class in editing and revision, and his insights were never short of brilliant. He’s one of the many editors who have helped me enormously in my career as a teacher and editor myself—and one of the best.

Here’s an example of his help: I had shied away from writing sex scenes, but he said that sex revealed a side of characters that couldn’t be known in any other way and especially with characters who were venturing into new territory, so it was important for me to follow them. I did. The book was a success, winning a Lambda Literary Award after receiving dozens of reviews, most of them adulatory.

Michael admired my sense of humor and urged me to write a mystery series with a Nick and Nora Charles feel. That’s how the Nick Hoffman mysteries were born and that’s how I started getting reviewed in the New York Times Book Review, ended up as a professional reviewer for newspapers and radio stations, got invited around the country and abroad to speak about my work, and saw professors take me on an as a subject for academic essays, papers, and book chapters.

Without Michael, I doubt that Special Archives at Michigan State University’s Library would have pursued my papers for a decade and finally purchased them for a hefty sum.

It’s not self-serving to say that his taste was superb and he didn’t just publish major gay writers, he published Ntozake Shange—and she’s the writer who apparently encouraged him to publish gay authors. I remember Michael made a prediction about my career. He said, “You might never have a best seller, but like Shange, you’ll be making a lot of money doing speaking engagements because people will want to hear you speak from your unique perspective.”

He was right. I’ve done hundreds of invited talks and readings across the U.S. and in Canada, Germany, Scotland, England, France, Belgium, Italy and Israel. Without his intense belief in the value of my work—and its quality—I might never have gotten this far.

Or felt so very grateful.

Into the Woods with Ruth Ware

As a crime fiction reviewer, I’ve often had to say, “Sorry, I haven’t read it” when people ask me about a new book.  The reasons can vary.  I might be swamped with review copies.  I might not have been in the mood for that particular book after sampling it.  Or I might be wary of the publicity blitz around the book since I’ve seen so many crime novels over-hyped by publishers and been disappointed when they turn out clichéd or badly written.

But then it’s a wonderful surprise to pick up a book with thousands of reviews on Amazon and Goodreads and discover that it truly lives up to the promotional material.  This past week I finally caught up with Ruth Ware’s gripping debut In a Dark, Dark Wood.

After an enigmatic brief prologue, the book opens in a hospital with Leonora, a heroine who can’t remember how she got there but has hands sticky with blood.  Something horrible has clearly happened.  Is she a murderer?  She’s desperate to regain her memory and for much of the book that struggle is a dark, dark thread.

How did she end up in the hospital?  Well, because she should have said no to a bizarre invitation.  Leonora, a crime writer herself, has led a solitary life for a decade after university for undisclosed reasons but readers know they’ll find out and will surely hope there’s high drama involved.  The invitation breaks into her solitude: it’s for what the English call “a hen party” and Americans call a bachelorette party.  Weirdly, she hasn’t been invited to the wedding itself and it takes some coaxing from a friend of hers and the bride’s to say “yes.”

The party is hours from London, very remote, in a big, isolated, ugly ultra-modern house.  Though it’s not haunted, it has far too many large, un-curtained windows and is surrounded by bleak forest.  Everything about it is oppressive, creepy, and exposed.  Tensions soon rise among the motley group of partiers and what seems at first to be an Agatha Christie homage turns violent and bloody.

In the second half of the novel we learn what drove her and her bride-to-be friend apart and while some of the revelations aren’t as surprising as you might wish, they fall into place in a satisfying way.  Ware is deft at building tension, evocatively describing people and places, and the book is explosive in many ways.  It’s also intriguing to read about a crime novelist caught up in a series of mysteries, a woman who might be a murderer herself.  And a woman who by all rights should have been far more wary and suspicious from the start.  When you read a Christie novel, a great deal is revealed in dialogue and readers of this novel should pay close attention to what characters say if they want to figure out what’s really going on in this taut, enticing novel.

Lev Raphael has reviewed for The Washington Post, The Detroit Free Press and other newspapers and public radio stations.  He’s the author of ten Nick Hoffman mysteries.

“Stillhouse Lake” is a Perfect Thriller




I’ve been reviewing mysteries and thrillers since the 90s and it’s been a very long time since I got goosebumps reading a crime novel. And even longer since I felt torn between rushing ahead to find out what was going to happen next and slowing down to savor and marvel at what an amazing book I was reading.

Rachel Caine’s Stillhouse Lake is that book. It’s beautifully crafted, scary and terrific in every single way: plot, characterization, style, and pacing. Hell, even the cover is creepily perfect.

Caine’s hypnotic narrator is Gwen Proctor, a woman on the run ever since her husband’s horrific secret life was exposed and led him to prison. She’s trying to protect herself and her kids from the sociopaths on the Internet who blame her for her husband’s crimes and make obscene, horrific threats. As happens way too often now, hatred’s gone viral and she’s the target of a vicious, disgusting cyber mob.

Despite the despair she sometimes feels, she’s strong, resourceful, and a very good shot. She’s turned herself into a fierce and indefatigable woman who might remind you of Sarah Connor in Terminator: The Sarah Connor Chronicles.

Gwen needs to be quick-thinking and strong because she’s pursued by psycho cyber terrorists. She and her kids keep having to abandon one town after another, one identity after another, until perhaps, just perhaps they’ve found a new home with people they can trust and maybe even admire.

Well, you know how long that’s going to last….

Caine avoids a trap many thriller writers fall into: her action scenes are as clear as possible without an excess word, and you always know exactly what’s happening. Equally important, she’s also a deft psychologist, capturing every single nuance of Gwen’s struggle in lean, evocative prose. Gwen’s love for her children is so intense the book practically blazes with that love. Her torment is just as intense. How could she have been so naive as to marry a man who was a heinous criminal–and not figured him out? The shame, the guilt, it’s all there, dramatized and heightened as one great plot twist follows another.

I actually read the prologue and first chapter twice because I was so blown away by the power and intensity of what Caine was doing, and by the plight of a deeply sympathetic narrator whose life may never be restored to any semblance of normality.

I’ll say it again: this is a perfect thriller. So prepare for plenty of OMG moments, and for losing lots of sleep.

Lev Raphael is the former crime fiction reviewer for The Detroit Free Press and author of ten Nick Hoffman mysteries and seventeen other books in many genres.  His work has appeared in fifteen languages.

 

My First Love Was a Library

I fell in love in second grade visiting our local library. On 145th Street in Manhattan, it was a gorgeous, imposing Gilded Age building by McKim, Mead and White, but I didn’t know its history until recently.

What I did know was that I felt excited, privileged and awed every time I passed through its portals, and believe me, it did not have doors, it had portals. The library was designed to look like an Italian palazzo. Nobody told me that, but I felt as far away as Venice every time I wandered along its endless shelves as the light streamed in through massive windows. I felt a similar sense of awe seeing Venice itself for the first time, decades later.

The library was a place of peace and complete freedom. No librarian ever told me a book was too adult for me, and neither did my parents. Which meant I could browse the shelves with no restrictions.

Each week I brought home a small pile of books I subsequently devoured, and I was especially fond of biographies and history, two genres that fascinate me even more now that I’m middle aged and have my own biography and see myself in history.

All those books nourished and inspired me. I wanted to write, too, and I wanted to have a book on those shelves some day. Here again, I was very lucky. Starting in grade school, my teachers and my parents encouraged my writing.

Yet with all that reading of library books, I still watched plenty of television. It was actually reading that interfered with my school work, not TV. Whatever I brought back from that amazing library was almost always more interesting than what we were reading in school, where I was often bored and too talkative. Nowadays, of course, they would probably give me Ritalin.

I got another gift from that library: being read to at story hour. It was the pleasures I derived from that and from having my mother read to me at home that partly fuel my own joy when I do a reading today, one of the best parts of being an author on the road.

Samuel Johnson wrote that “No place affords a more striking conviction of the vanity of human hopes, than a public library.” I can’t agree, at least on a day when I’m feeling good about my career, because my own public library filled me with hope, knowledge, and dreams.

Lev Raphael is the author twenty-seven books and has spoken about his work in nine different countries at universities, libraries, churches and synagogues, and museums.  He’s published 100’s of essays, stories, book reviews and blogs, and the Michigan State University Library collects his literary papers for its Special Archives.

(this blog first appeared on The Huffington Post)

Should You Write Every Day?




Lots of authors worry about the number of words they write per day. Some even post the tally on social media as if they’re in some kind of competition.

And if they’re not writing at least 500 or 1200 or 2000 words or whatever quota they’ve set, they feel miserable. Why aren’t they working harder? Why are they stuck? What’s wrong with them? How come everyone else is racking up the pages?

If that kind of system works for you, fine. But as an author, editor, and writing teacher, I think it can be oppressive.  Too many writers believe that if they’re not actually physically writing a set number of words every single day, they’re not just slacking, they’re falling behind and even betraying their talent. Especially when they read online about other people’s booming word counts.

How do they get caught in that kind of dead-end thinking? It’s thanks to the endless blogs and books urging writers who want to publish and stay published to write every day.  They make that sound not just doable, but the norm. Some days, though, it’s simply not possible. Hell, for some writers it’s never possible. And why should it be?

I never urge my creative writing workshop students to write every day; I’ve suggested they try to find the system that works for them. I’ve also never worried myself about how much I write every day because I’m almost always writing in my head, and that’s as important as putting things down on a page.

But aside from that, every book, every project has its own unique rhythm. While working on my 25th book, a suspense novel, I found the last chapter blossoming in my head one morning while I was on the treadmill at the gym. Though I sketched its scenes out when I got home, I spent weeks actually writing it.

Some people would call that obsessing. They’d be wrong. What I did was musing, rewriting, stepping back, carefully putting tiles into a mosaic, as it were, making sure everything fit right before I went ahead, because this was a crucial chapter. I was also doing some major fact-checking, too, because guns were involved and I had to consult experts as well as spend some time at a gun range. It took days before I even had a workable outline and then a rough draft of ten pages, yet there were times when I had written ten pages in a single day on the same book.

The chapter was the book’s most important one, where the protagonist and his pursuer face off, and it had to be as close to perfect as I could make it. So when I re-worked a few lines that had been giving me trouble and found that they finally flowed, it made me very happy. I was done for the day!

And if I didn’t write a word on any given day or days, I knew I would be, soon enough. Because the book was always writing itself in my head, whether I met some magical daily quota or not.

I don’t count how many words or pages I write a day, I focus on whether what I’ve written is good, or even if it has potential with revisions. That’s enough for me.

Lev Raphael has taught creative writing at Michigan State University.  He’s the prize-winning author of 27 books in many genres and has also published hundreds of stories, essays, book reviews and blogs.  He edits and coaches writers at writewithoutborders.com.

Image by StockSnap at Pixabay

 

Goodreads Goofs on Bogus Author Quotes

Back in 2017, I contacted Goodreads to let them know that this top-ranked quotation by George Eliot is bogus, and I sent proof:

It is never too late to be what you might have been.

Yes, you’ve seen it attributed to Eliot everywhere: Twitter, Facebook, Pinterest, t-shirts, kitchen magnets, mugs, bookmarks, tote bags, tattoos. But there’s no source.  None.

I read George Eliot in college religiously, and read about her as well because she was a major inspiration to me as a budding writer. So the first time I saw the quote it felt off to me — a bit too peppy, more like something from a Hallmark greeting card.

I poked around the Internet, and though it’s inescapable, there’s no attribution. Nobody who knew Eliot records it as a comment she made, it’s not something she wrote in her diary, and it doesn’t appear anywhere in her writing. That’s been proven by Eliot scholars, as reported in The New Yorker. It’s also been researched by a great web site, Quote Investigator, which shows a long history of misquotation.

Eventually, someone at Goodreads asked me to post on the “Librarians page” and said the team would investigate. I did, but what was there to investigate? That had already been done by scholars who I imagine have more expertise than the intrepid Sherlocks at Goodreads.

Well, the bogus quote is still there.  A Goodreads “expert” recently emailed me to say that Goodreads doesn’t take down quotes.  It’s now listed as “source-unknown” which is just plain wrong:  The source isn’t unknown, it’s nonexistent.  But the “quote” makes great click bait.

Lev Raphael is the author of Writer’s Block is Bunk! and 26 other books in many genres. He mentors, coaches, and edits writers at writewithoutborders.com

Image Credit: Pete Linforth from Pixabay

Shit People Say to Writers

Nobody tells you that when you publish a book, it becomes a license for total strangers to say outrageous things to you that yourself could never imagine saying to anyone.

I’m not just talking about people who’ve actually bought your book.  Even people who haven’t read your book feel encouraged to share, based on what they’ve gleaned from friends, reviews, the Internet, or ESP.

At first, when you’re on tour, it’s surprising, then tiring — but eventually it’s funny, and sometimes even offers you material for your next book.

All the comments on this list have been offered to me or author friends of mine.

–I liked your book, but I hated the ending.

–Your characters shouldn’t be so nice.

–Your characters should be more likeable.

–You need more sex in your books.

–There was too much sex in your book.

–The book doesn’t make sense unless there’s a sequel.

–You used too many words I had to look up.

–Too bad you’re not better known.

–It’ll never sell.

–My bookstore doesn’t carry any of your books.

–I found some typos in your book — you should fix that.

–I’d like you to write my book.

–What’s up with that cover?

–Can you tell your agent about me?

–You have a way with words.

–You need to put a nice lesbian in your next book.

Lev Raphael is the author of 27 book in genres from memoir to mystery, has taught creative writing at Michigan State University and Regents College in London.  If you need writing coaching or editing, you can contact him at https://www.writewithoutborders.com

(free image from Pixabay)

Every Writer Needs an Editor (Guest Blog by Meredith Phillips)

Guest blog by Meredith Phillips

Everyone needs an editor–even editors. Why? Primarily because an editor brings objectivity to your writing. When you proofread your own writing, you sometimes see what you expect to see, what you meant to write, on the page or screen before you. The editor brings an outsider’s view and is much more likely to pick up typos or mistakes. And truth be told, auto-correct or spell-check will not pick up homonyms.

Furthermore, because of editors’ training and wide reading background, they can spot an infelicity, misstatement, or erroneous fact—not to mention a plot hole. The editor’s job is to make the writer look good by preventing the reader’s confusion, making things as clear as possible. If you’re not “traditionally published,” which would presumably include professional editing, you should hire an editor at your own expense. You’ll find it is well worth the money.

When it comes to traditional or legacy publishing, after acquisition or commissioning a book, ideally several levels of editing take place. Those can range from development and/or substance editing to line and/or copy editing to proofreading. My own experience is mainly in fiction editing, the majority being crime fiction, but I’ve worked on all kinds of nonfiction as well, from cookbooks to handbooks to how-to guides. Over forty years I’ve edited hundreds of books and I still love it. I’d rather spend my time with red pen in hand, or these days with Word Review on the screen, than doing most other things. This has served me well during the pandemic.

***
How does anyone become an editor? I doubt that any children say they want to be editors when they grow up. And I suspect that most editors originally began as writers, as did I. After first writing magazine pieces, a guidebook, and then a mystery, I decided that I’d rather tell other people how to write than do it myself. And I’ve done so ever since (although a certain amount of writing of catalog copy, blurbs, press releases, etc. is inevitable in the job). As well as learning by doing, I read books and articles on editing and joined professional organizations.



I spent the first ten years alone at Perseverance Press, editing and publishing new mystery writers who usually had other kinds of writing backgrounds. After ten of these books, some award-nominated, I went “on hiatus” and concentrated on freelance editing for mystery writers with NYC publishers. I was lucky enough to again be working with professional writers and didn’t have to deal with newbie writing problems.

But freelance editors are definitely at the bottom of the publishers’ totem poles, and liable to be blamed for all snafus. Then came the opportunity to partner with an old friend who wanted a mystery line in his small independent publishing company. And from 1999 to 2021, John Daniel & Co. / Perseverance Press published more than eighty traditional mysteries by established writers. This idyllic arrangement came to an end with John’s death, so I’m a freelancer again. And I was lucky enough to be available when Crippen & Landru needed an editor last year for their respected collections of Golden Age short fiction.

***
Does editing mysteries differ from mainstream fiction editing? Not a lot. The plot structure is usually tighter in mystery/suspense, and attention must be paid to suspects’ activities and alibis. In the end, order should be restored and readers should feel that they had a chance of figuring out the puzzle. The background environment, geographical setting, and/or the historical period in a mystery are often rendered in detail, as they may contain clues. The conscientious editor should do some research (via Google and Wikipedia these days instead of a trip to the library) to be conversant with the milieu depicted by the author. I’ve bought a lot of books on editing but have found only a few of real use: Strunk & White’s Elements of Style and William Zinsser’s On Writing Well, which I’d recommend to all writers.

Do mistakes still happen? Of course! In my early days I let an author get away with putting the protagonist in “a room with no doors or windows.” And much more recently, a main character kissed a man who wasn’t her fiancé, whom she didn’t like, and who wasn’t even in the same place as her. This goof sneaked by the author, me as the editor and two proofreaders. But of course it was pointed out in an Amazon review!

That takes me back to the first line, above….

[Free Images from Pixabay]