Friday, June 29, 2018

Books Trending News – Guaripete | Online Store

Books Trending News – Guaripete | Online Store


305. More from RT 2018: There Are Some Books Around Here, and Some Creepy Dolls

Posted: 29 Jun 2018 07:04 AM PDT

It's time for part two of my recordings from Romantic Times 2018.

We're chatting about RT while we were still there over lunch and wine – ah, the delays of extensive editing. We have several meandering conversations – and some bits you may have heard in our live show, too.

We talk about books, our pets, books, publisher news at RT, and random other things.

We cover why the hitman plot works for Elyse but not for Sarah, and why Elyse thinks m/m spy and adventure stories are popular.

I ask Amanda and Elyse, who are younger than I am, about their impressions and understanding of category romance. We talk about gothic, horror, and suspense – though keep in mind, I'm as full of crap as anyone when it comes to discussing trends.

And of course, we talk about what was with the doll in Amanda's mom's walk in closet.

Important! SPOILER 13:35 – 14:00 for Iron Druid series. Heads up! Skip ahead 30 seconds if you don't want to be spoiled for the end of the series, ok?

❤ Read the transcript ❤

↓ Press Play

Here are the books we discuss in this podcast:

Kensington has a digital science fiction and fantasy line: Rebel Base. (Is that a cool name or what?)

And we mentioned Episode 288. Tweeting About Romance History: An Interview with Elisabeth Lane of Cooking Up Romance.

Meaghan mentioned The Reading List and The Listen List from ALA.

If you like the podcast, you can subscribe to our feed, or find us at iTunes or on Stitcher. We also have a cool page for the podcast on iTunes.

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What did you think of today’s episode? Got ideas? Suggestions? You can talk to us on the blog entries for the podcast or talk to us on Facebook if that’s where you hang out online. You can email us at sbjpodcast@gmail.com or you can call and leave us a message at our Google voice number: 201-371-3272. Please don’t forget to give us a name and where you’re calling from so we can work your message into an upcoming podcast.

Thanks for listening!

This Episode’s Music

Peatbog Faeries Live at 25 album cover - a red lit stage with hands in the air from the crowd in the foregroundOur music is provided by Sassy Outwater. Thanks, Sassy!

We've been playing tracks from the Peatbog Fairies' live album, Live @ 25, and it is seriously fun.

This is Spiders by the Peatbog Faeries.

You can find this album at Amazon and iTunes.

And you can learn more about the Peatbog Faeries at their website, PeatbogFaeries.com.


Podcast Sponsor

Whiskey Sharp: Torn

This episode is brought to you by Whiskey Sharp: Torn, by Lauren Dane.

Beau Petty has been searching his whole life. Searching for a place that fills all the empty spaces in him. Searching for a way to tame the restlessness. Searching for answers to the secret he's never stopped trying to solve.

What he wasn't searching for was a woman to claim all of him, but when Cora Silvera walks back into his life, he's ready to search out all the ways he can make her his.

Cora has spent her life as the family nurturer, taking care of others. But now she's ready to pass that job on to someone else. It's time to make some changes and live for herself. It's in that moment that her former teenage crush reappears and the draw and the heat of their instant connection is like nothing either of them has experienced. He craves being around her. She accepts him, dark corners and all.

Beau thinks Cora's had enough drama in her life. He wants to protect her from the secrets of his past, even if it means holding back the last pieces of himself. But Cora is no pushover and she means to claim all those pieces. Because Sometimes what you find isn't what you were searching for.

Whiskey Sharp: Torn by Lauren Dane is on sale June 26 and available for pre-order wherever books are sold.

Transcript

❤ Click to view the transcript ❤

[music]

Sarah Wendell: Hello, and welcome to episode number 305 of Smart Podcast, Trashy Books. I'm Sarah Wendell from Smart Bitches, Trashy Books. With me today are Amanda and Elyse again. It's time for a little bit more from Romantic Times. We're chatting about Romantic Times while we're still there; this was recorded over lunch and wine. Ah, the delays of extensive editing. We have several conversations, and some bits you might have heard as part of our live show as well. We talk about books; we talk about our pets; we talk about more books; we talk about publisher news and random other things. We have a discussion as to why the hitman plot works for Elyse but not for me – I think it has to do with the villain thing that we covered in the last episode – and why Elyse thing male/male spy and adventure stories are popular. I also ask Amanda and Elyse, who are a little younger than I am, about their impressions and understanding of category romance. We talk about Gothic, horror, and suspense, and please keep in mind, I, I ask questions, but I am as full of crap as anyone when it comes to discussing trends, so if I ask a question, that's not because that question is my opinion; I'm mostly curious what they think. And of course we're going to talk about what was up with the creepy dolls in Amanda's mom's walk-in closet.

This podcast is being brought to you by Whiskey Sharp: Torn by Lauren Dane. Beau Petty has been searching his whole life for a place that fills all the empty spaces, for a way to tame his restlessness, for answers to a secret that he has never stopped trying to solve. What he has not been searching for was a woman to claim all of him, but when Cora Silvera walks back into his life, he's ready to search out all the ways that he can make her his. Cora has spent her life as the family nurturer, taking care of others, and now she is ready to pass that job on to someone else. It is time to make some changes and live for herself, and that is the moment when her former teenage crush reappears, and the heat of their instant connection is like nothing either of them has experienced before. Beau thinks Cora has had enough drama, and he wants to protect her from the secrets of his past, even if it means holding back the last pieces of himself. But Cora is no pushover, and she means to claim every one of those pieces, because sometimes what you find is not what you were searching for. Whiskey Sharp: Torn by Lauren Dane is on sale now and available wherever books are sold.

Every episode gets a transcript, and this week's transcript is brought to you by everyone who supports the podcast Patreon. Thank you, guys! I deeply appreciate it! You are all lovely humans. Each episode gets a transcript to make the podcast accessible to everyone, and when there's not a sponsor, the Patreon group helps me fund those transcripts individually. And thank you to garlicknitter, who transcribes each episode! [You're welcome! – gk]

I also have compliments, which are really fun parts of my intro – yay!

To Rachel D.: Two of your friends from elementary school have named pets that they love after you, but they are too embarrassed to say so. You are that memorable.

And to Karen R.: The reason there's always a pause when someone leaves you a voicemail is because your voice is so incredible, people are dumbstruck by how great it is, and they have to remember how to talk.

Now, if you would like a compliment of your own, or if you would like to support this here podcast, please have a look at our podcast Patreon at patreon.com/SmartBitches. The podcast Patreon community helps me in innumerable, immeasurable ways, and every pledge, starting with as little as one dollar a month, makes a deeply appreciated difference.

I also want to thank some of the podcast Patreon folks personally, so to Kelsey, Mai – "May" or "My," whichever one it is; I'm sorry – Catherine, Johanna, and Andrea, thank you so much for being part of the podcast Patreon!

Are there other ways to support the show? Absolutely! Sing along if you know the words! Leave a review wherever you listen; that makes a massive difference. Tell a friend. Subscribe! Whatever works. But thank you very much for hanging out with me each week as we, you know, talk about romance and a bunch of other stuff.

We have a podcast email address, and it is sbjpodcast@gmail.com, and I just realized that Gmail, as it applied new filters and reinvented itself in the last few weeks, had filed a whole bunch of messages from you guys in the spam, and I just fished them out, and I'm, like, super embarrassed, so if you've sent me an email and I didn't reply? Whoa, am I sorry about that. I had no idea; I missed them entirely, so I'm going to be doing some replying, and if you emailed me and you didn't hear back from me? Please email me again. I'm super sorry about that. Gmail and I are going to have some words, mostly on my end, and they're going to be bad words. But you can email me any time at sbjpodcast@gmail.com or Sarah, S-A-R-A-H at smartbitchestrashybooks dot com [Sarah@smartbitchestrashybooks.com]. Damn, Gmail! Super pain in my butt.

Coming up at the end of this episode, I have an email with some audiobook recommendations for you, and as always, I will be telling you what is coming up on the website this coming week; I have a super terrible bad joke – super bad – and just as we do every week, I will have links to all of the books and television shows and movies that we talk about; and I will have links to any news or, you know, pieces of information you might want to check out. The podcast entry is always at smartbitchestrashybooks.com/podcast.

The music you are listening to is provided by Sassy Outwater. I will have information at the end of the show also as to who this is and where you can buy it for your very own. And if you would like to suggest music or send me music – I have to have the rights to rebroadcast it on a podcast; you can't just be like, here's my favorite song! Because if I could do that, you'd be really horrified by what I listen to – but if you would like to contribute music to the show that you have the rights to do so, please email me. I love discovering new artists and new music, and it's super cool to hear what cool things you guys listen to as well.

And oops, I almost forgot: at time marker 13:35 to 14:00, there is a spoiler for the Iron Druid series, so if you don't want to be spoiled, skip ahead thirty seconds at 13:30.

And now, on with the podcast.

[music]

Sarah: So we're doing a, we're doing updates on RT on, is it day two?

Elyse: Yeah.

Amanda: Yes.

Sarah: Why does it – well, 'cause of the Blogger, the Blogger Con messes with my head, because then I think it's, that's day one, and then Wednesday's day two, and –

Amanda: Yeah.

Sarah: So my brain is like, the actual conference, though, it's the actual conference day one, day two.

Amanda and Elyse: Yeah.

Sarah: So you had cool shit happen.

Amanda: Yeah! Well, I went to the Kensington publisher spotlight, and they revealed the cover of Rebecca Zanetti's new romantic suspense series that they're publishing, and I'd love to feature this cover on Cover Awe, but it would not translate digitally because of the cover treatment. The cover treatment features a woman, and the woman is in, like, I think, this kind of flat, matte material or paper, and then the background is like this shiny paper, so it, it definitely stands out and, like, catches the light. Yeah, it was really neat. I mean –

Elyse: But what's the series about?

Amanda: I don't know.

[Laughter]

Elyse: Just looked at the cover; it's fine.

Amanda: Yeah.

Elyse: 'Cause you had me at romantic suspense. Confession: I, it took me a minute to realize that everyone's bag, or badge holder, says Rebecca Zanetti on it –

Amanda: Yes.

Elyse: – so there was a moment where, like, I thought I was looking at Rebecca Zanetti, but it was just another person. [Laughs]

Amanda: She was sitting in front of me in the Kensington thing. She seemed very nice. But yeah, and I got some books from Kensington, which I'm very excited about. Hot and Badgered and High Risk, which is the next Simona Ahrnstedt's book?

Elyse: That's huge.

Amanda: Yeah, it's a huge ARC. The finished copy also has, like, a very shiny cover treatment too.

Elyse: How many pages is that?

Amanda: Ooh, let's see. We're going to peek on in here.

Sarah: That book is really quite large.

Elyse: Yeah.

Amanda: 533.

Elyse: Hoo!

Sarah: That's a big book.

Amanda: They're, I feel like the first one was a regular size, the second one was a little thicker, and this might be the biggest one.

Sarah: Is that the second one after All In?

Amanda: This is the third one.

Sarah: That's the third one.

Amanda: All In; the next one had a purple cover. I don't remember the name of it, but it was purple and I think had a redhead on it. And so this is the third one, and it's red and has a man in a suit on it.

Sarah: Well, I can tell you, because I have my lap-, laptop here 'cause I'm, you know, doing work, 'cause that's how I roll. She has Falling

Elyse: Then All In.

Sarah: – All In.

Elyse: Then High Risk.

Amanda: All In's the first one.

Sarah: Yeah.

Elyse: No, I think – oh, yeah, you're right. I'll just buy 'em all. Whatever.

Amanda: All In's blue. Falling is purple.

Elyse: One-click buy.

Amanda: High Risk is red. And then –

Elyse: The Spanish covers are really pretty.

Amanda: I mean, that's usually the way it goes.

Sarah: Oooh!

Elyse: It's like the torso of a woman in a really pretty ball gown?

Sarah: Yeah! So there's –

Elyse: Yeah, the foreign editions are nice.

Sarah: Solo esta noche, Only this Night, Only a Secret, and Only an Adventure. Oh, and they're gorgeous.

Amanda: And it's the same series?

Sarah: And it's, it's the silhouette of a woman in a dress – of course her head is chopped off – but it's against a long exposure of a city, so there's, like, traffic lights going by in the background? Those are really gorgeous! Damn!

Amanda: I also had a really cute moment in the hallway coming up to Sarah's room.

Sarah: Oh my gosh, my, all – you told me about this, and all of my insides melted.

Amanda: So I was wearing my badge, and this older couple stopped me and wanted to know what the convention was, what was going on, and so I was talking to them about what it is and how it's authors and readers and industry people, and they told me how great it was that they were seeing stuff for trans people here, because they're like, we had a grandson who is now our – no, we had a granddaughter who is now our grandson, and it's, like, it's a learning process, and we love seeing stuff like this, and it was just so sweet.

Elyse: Oh, that's amazing!

Amanda: Yeah, and I told them about, like, how there are several LGBT publishers if they're interested in, you know, getting anything, and they're asking, like, where can we buy these? Are they in stores? On their own site? So it was really sweet. [Laughs]

Elyse: RT is not great for – like, as many books as I bring home, I buy a shit-ton too.

Amanda: Yeah.

Elyse: I feel like one-click buy should just be on my gravestone when I die. Like, that's –

Sarah: [Laughs]

Elyse: She One-Click Bought. If they ever do that with yarn, I'm fucked.

Amanda: [Laughs] One-click buy for yarn.

Elyse: One, one-click buy for yarn, and then they just ship it to you.

Sarah: Oh, that would be very bad!

Elyse: Rich sent me a photo of my spot on the couch, which is entirely covered in Dewey hair because he's lying there looking at Rich like, you're a failure; where's the other one?

Amanda: I miss my cat so much.

Elyse: I know!

Sarah: [Laughs] I know mine, both dogs take up my side of the bed when I'm not home, so when I get back, Zeb's going to be like, oh, you want to sleep here, huh?

Amanda: Once Linus realizes that, like, I'm gone, he won't sleep in the bed. He'll go up and sleep with my roommate, 'cause she's home. So, like –

Sarah: You are an acceptable replacement human for this time period, but not permanently.

Elyse: I feel like Fisher is too dumb to know I'm gone.

[Laughter]

Elyse: Amanda and I were talking about his personality, and she nailed it that he's like, he's so happy and overjoyed by everything, but also really dumb and, like, would not survive without adult supervision at all times.

Amanda: [Laughs] Gee, Mister! What do you got in that van?

Elyse: [Laughs]

Sarah: So wait, Amanda, you went to the Kensington thing, and they had an announcement.

Amanda: Yeah!

Sarah: Was it the Kensington spotlight?

Amanda: Yes, it was the Kensington –

Sarah: Where they hit you with chocolates?

Amanda: Yeah, I was –

Sarah: [Laughs] Pelted?

Amanda: I was beaned.

[Laughter]

Amanda: Like, if this – it was like buckshot, but with Hershey Kisses.

Elyse: [Laughs]

Sarah: Ouch!

Amanda: They said it had officially launched in January, but Kensington has a digital sci-fi and fantasy line now –

Sarah: Oooh!

Amanda: – that's called Rebel Base.

Elyse: Ooh!

Amanda: Yeah.

Elyse: Oh! I like that!

Amanda: Yeah! They said it launched in January. I'm not sure, they didn't discuss what authors are in it yet, and yeah, I mean, it doesn't focus on romance. It's sci-fi/fantasy; some might have romantic elements in it? But it sounded really neat. I want to poke around and see what they've got. But yeah! I think that's pretty, pretty dang cool!

Elyse: So Rich reads a lot of sci-fi/fantasy – well, he listens to it on audio – and since we share an Audible account now, he's listening to romance novels too; we did a podcast and everything.

Sarah: Yeah?

Elyse: So there's this Iron Druid series that he loves, and they just finished –

Amanda: [Whispers] I didn't like that series.

Elyse: – they just finished the last book, and he comes storming into the living room, and he's like, you've ruined me! And I said, what do you mean, I've ruined you? He goes, they ended the series, and, like – super spoilers; sorry – they did not wind up together! Yeah, he fucked up, but where's the groveling? There's supposed to be groveling! I don't have my closure! This series is done! I'm never going to get my closure, Elyse! [Laughs] And it was just like, oh my God. I'm so sorry!

Sarah: Oh no, dude! We, we have, we have, we have failed you.

Elyse: I'm sorry.

Sarah: I'm sorry I'm doing work while I do this, but ad changeover day is coming, so I need to –

Elyse: No, we're good.

Sarah: – load shit up.

Amanda: I've got to go do work later –

Elyse: So –

Amanda: – and by work I mean, like, finish reading this book.

Elyse: So –

Sarah: It's hard when that's your job, isn't it, man? It's so hard.

Elyse: – did you guys see the 3D ads?

Sarah: What? 3D ads? Where?

Amanda: What?

Elyse: Okay, so either the ads are –

Sarah: Okay, so please know, because I wear bifocals, none of this shit works on me –

Elyse: Okay.

Sarah: – so I need you to give me a – 'cause it's not going to work on me.

Elyse: So either –

Sarah: I'm just going to get dizzy.

Elyse: – either the ads are actually 3D, or I have something neurological going on that I should be concerned about.

[Laughter]

Elyse: So, first of all, 'cause we're in a casino, like, on the ground floor, the doors and windows are all tinted, because they don't want you to be able to tell what time of day it is outside, so when you walk down the hallway it's, like, either red or blue, and it's really weird. So you're walking down this hallway with marble floors, or faux marble floors or whatever, and, like, the color light reflecting on it, and there's, basically, like, one wall is a TV screen playing ads –

Amanda: Yeah.

Elyse: – and there's one for this author, and it's like – I didn't catch the author, but it's a romantic suspense, so it's got, like, newsprint about a crime or something in the background, and then, like, the face of the character off the cover of the book floating in front of it, so when you're standing there with, like, the weird red light shining on you and then the 3D ad immediately in front of you, it's one of those things like where you watch TV on the treadmill, and all of a sudden you're like, I can't walk anymore. My brain –

[Laughter]

Elyse: – my brain cannot process what's about to happen, and you just kind of want to fall down. So the fact that I didn't just, like, collapse in the hallway, I was very, very, very proud of that.

Sarah: You should be very proud of that!

Amanda: I, on the treadmill, I don't know what it is, but I cannot run in a straight line on a treadmill. I'm just, like, weaving, and then it's just like, I don't know what –

Elyse: You've got, like, evasive maneuvers programmed in.

Amanda: Yeah, I – but, like, on a track I'm fine, but there's just something about the treadmill that make, puts me off balance. I don't like it.

Elyse: So I saw an ad that got me to buy a book, so that was exciting. She's not here, but Meredith Wild is starting a series about a hitman –

Amanda: Huh!

Elyse: – which is my catnip.

Sarah: Okay. Why is that? What, what is it about the hitman plot that really does it for you?

Elyse: Because it – okay, so, like, it's two-, it's two-fold: first of all, I blame the John Wick movies –

Sarah: Okay!

Elyse: – for quite a bit of it. Also –

Sarah: Sure.

Elyse: – what was the movie with Natalie Portman in it? Was it Léon?

Amanda: The Assassin? No, Léon: The Professional. Léon: The Professional.

Elyse: Yes! Yes. I loved that movie; it tore my heart out of my chest. Little baby Natalie Portman. So, like, it's kind of the – I think because the, the hitman mythos, like, when you're reading the books, they only kill bad people? So there's, like, a set of rules that you're still following, right, so there's a structure to it, and also, like, I just think that if I ever actually dated or married a bad person, he'd be like, well, what do you want for your birthday? And I'd be like, so there's this cat at the shelter who was really horribly abused; can you just take care of those people for me? And he'd be like, sure, baby, and that would be it. Like, I feel like there are people who don't need to be on this earth, and that's probably not a great thing.

Sarah: So the assassin part for you is more about a somewhat morally ambiguous dispensing –

Amanda: But he's killing bad guys.

Sarah: – of justice.

Elyse: Right. Exactly.

Sarah: So there's a justice element.

Elyse: There's a justice element.

Amanda: Like a vigilante.

Elyse: Like, in John Wick, they killed his dog. Of course you're going to fucking kill them!

Sarah: Oh – you're going to kill every motherfucker in the room. Like, that's –

Elyse: A hundred percent!

Sarah: – I have no problem with any violence – I mean, I can't watch it personally –

Elyse: Right.

Sarah: – but, like, you kill his dog?

Elyse: It all makes sense, yeah.

Sarah: Absolutely! You're going to kill every motherfucker in the room!

Elyse: Yeah!

Sarah: I have no problems. I understand; I am with you; go ahead. So with the, with the hitman romances that you like and the assassin romances that you like, it is about the, the, sort of the vigilante dispensing of appropriate justice.

Elyse: Right. I mean, it's kind of like –

Sarah: If shitfuckers got away with things, we need to balance the scales.

Elyse: Right. It's, it's –

Sarah: Ooh! Ooh! Ooh! Ooh! Ooh! Ooh! Ooh! Ooh!

Elyse: Ooh, what, what?

Sarah: Like Ruby Rose in Xander Cage –

Elyse: Yes! Yes!

Sarah: – and she's just shooting the hunters.

Elyse: It's douchebag season.

Sarah: It's douchebag hunting season. Okay, I want you to know –

Elyse: I love it!

Sarah: – I, we watched that movie because I knew it would be, like, intricate stunts and doing crazy shit and having all these cool, basically stunt men –

Elyse: Right.

Sarah: – doing things. The minute she was, like, aiming the gun at the lion, my son was like, mom? Mom. What is this? I'm like, nonono, keep watching. So she, and then she's like, what are you doing? I'm evening the odds. She aims the gun at the hunters who are –

Elyse: Right.

Sarah: – who are close, who are basically, what's it called when you're game hunting but –

Amanda: Poaching?

Sarah: Poaching? And then there's also that form of hunting where they, like, isolate the animal so you can't miss?

Elyse: Right, 'cause nothing says –

Sarah: Trophy hunting!

Elyse: Yeah, nothing says I have a giant dick like –

Sarah: Killing an animal in an enclosed pen –

Elyse: Environment, mm-hmm.

Sarah: – because it's easier for you to – ugh, fuckers! So she's shooting the hunters who are doing this trophy poaching – [laughs] – and then the whole thing ends, and she doesn't shoot them lethally. Like, she shoots them in the hand, she shoots them in the leg, and he was just like – [gasps] – that was AWESOME! I'm like –

Elyse: Right?

Sarah: – this is exactly the kind of movie for you. That, that, that's a very specific thing; like, the Triple X movies and the Fast and the Furious movies, they're, like, stunt adventure movies.

Elyse: Yeah, and it's like, yes, people die in the background, like, but they're all bad people, so we don't care. We're just like, we're just willing to, like, okay. You had to kill some bad people; I understand.

Sarah: So for you, the assassin or hitman plot rests on the idea that he's dispensing appropriate vigilante justice.

Elyse: Right, and that he's got a set –

Sarah: 'Cause all those people –

Amanda: Like a Dexter scenario.

Elyse: Yeah, exactly. Like, there's an internal logic to what he's doing, so it's not just randomly killing people for money.

Sarah: All right, I get it.

Elyse: Yeah.

Sarah: Yeah, okay, that makes sense.

Elyse: There's a couple of actually male/male assassin books that I have on my TBR.

Sarah: Oh, are they the – is, did HelenKay Dimon write male assassins like Mr. and Mr. Smith, or are they agents?

Elyse: She, they were spies.

Sarah: They were spies; that's different.

Elyse: So there is an, I think, Laura – is it Lauren? I feel bad; I'm a terrible person. I got her to sign a book yesterday, and I think HelenKay actually recommended her? She writes the Whiskey Sharp series, I think it is?

Sarah: Lauren Dane.

Elyse: No, not – it's like Lauren Rayne. I think.

Sarah: Whiskey Sharp is Lauren Dane.

Elyse: No, then I'm thinking of something else. Layla Reyne, and her series is –

Amanda: Is it the, the Whiskey Malt?

Elyse: Yes, it's like the first book I think is Single Malt, and then it's, like, Cask Something.

Amanda: They've got, like, whiskey titles.

Elyse: Right. So there's that. There's been a lot of male/male, like, spy and assassin-type stuff coming out lately, which makes my heart so happy.

Sarah: I wonder why.

Elyse: I think a lot of it has to do with the fact that there are a lot of franchises that don't have strong female leads, and so there's a lot of fanfiction between male leads in, like, action movies because they're the most developed? That's my assumption? It's Where Death Meets the Devil by L. J. Hayward –

Sarah: Ooh!

Elyse: – and it's about a spy and an assassin who should be, like, enemies but have to team up to get out of a really bad situation, and so it's kind of like a temporary alliance? And it's supposedly very action oriented, which I'm very excited for.

Sarah: Very cool.

Elyse: And then there was another one – these are all out, by the way – and it's one where the hero finds out his next-door neighbor, or, like, the guy in the apartment across the way, is actually, like, a hitman, but up until –

Sarah: It happens!

Elyse: Right, but, like, up until now they've gotten along really great. It's just, he happens to be a hitman. I think there's a cute dog in that one too. And now – but the cover on that one's really good too, so now I need to find it. It would help if I didn't have nine thousand fucking Kindle books to scroll through, because clearly I have zero impulse control.

Sarah: So let me ask you a question that I have put very little thought behind, but I'm now pondering.

Amanda: Okay.

Sarah: So, so HarperCollins bought Harlequin –

Amanda: Yeah.

Sarah: – 'cause they wanted their international distribution channels, and there's all of these category romances –

Amanda: Yeah.

Sarah: – and a lot of lines are closing.

Elyse: Mm-hmm.

Sarah: Do you think there is still a market for category romance?

Amanda: I have never read a category romance.

Elyse: I read –

Amanda: Ever.

Elyse: – a lot of category romance when I first was getting into romance; specifically –

Sarah: They were a gateway for so many people!

Elyse: Specifically Harlequin Presents. Like, that was, I went from reading my mom's, like, Victoria Holt and Phyllis Whitney, which have a lot of Presents-like themes: you have, like, tend to have an older hero who's powerful and maybe a little more mysterious –

Sarah: Right.

Elyse: – international settings, so I went from –

Sarah: Wealth, opulence.

Elyse: Right.

Amanda: I feel like what category does well is that with each line it's kind of a shorthand for you know what you're getting into.

Sarah: Yes, that's very true.

Amanda: Like, they have a, like, a medical romance line, and if that's your thing, they have an entire –

Elyse: Right.

Amanda: – selection for you, and then, like, Nocturne, I think, is their paranormal romance line. So it's a good shorthand for, I like these things; here is, you know, hundreds and hundreds of books that have something to do with this one trope or feeling or genre that I enjoy. But, yeah, I don't know if that's sustainable?

Elyse: The book I was looking for is Warrior's Cross by Madeleine Urban and Abigail Roux, for the show notes, so.

Sarah: Got it.

Elyse: Yeah, I don't know. But I feel like, I found so many authors through their category backlist. I mean, I found HelenKay Dimon through category romance, 'cause she used to write, I think, Silhouette suspense, whatever their suspense line was; I don't remember.

Sarah: Intrigue.

Elyse: No, Intrigue was Harlequin. Intimate Moments or something.

Sarah: Silhouette Intimate romance?

Elyse: But I mean you, even if you look at, like, the really big-name authors, they all started in category romance.

Amanda: I think J. R. Ward did as Jessica Bird, wrote category romance?

Sarah: Oh! Yeah, she wrote category. But it's interesting to me, one of the things that the sort of survey and overview that Elizabeth Lane did that I spoke to her about on the podcast was looking at – she was specifically looking at when did GLBT characters start showing up in category, but the thing that she realized and looked at that I was gravitating towards was the fact that there were so many readers, or excuse me, so many writers who moved from category to single title. That was the path. Now you have so many writers who start from fanfic to self-published –

Elyse: Right.

Sarah: – and there isn't so much a differentiation among self-published writers between category and single title. It's just, it's novella, short, whatever; they call it whatever they want. So you have more writers coming into the genre from fanfic. One of the things I think the genre struggles with is its inclusivity of people, and readers who are currently reading YA and reading fanfic and spending all their time on Wattpad are probably more accustomed to seeing a more inclusive representation in the characters that they read.

Elyse: Yep.

Sarah: If they get to romance, and it's, like, nothing but white, straight people, they're going to be like, well, fuck this, and they're going to go elsewhere.

Elyse: I think that –

Sarah: And the lack of diversity and inclusivity in category – specifically, category published by publishers, not category-length books that are self-published, because there's obviously much more – [musical alert] – it's time to do the grocery cart! – obviously much more inclusivity within the self-published, 'cause that's why they're self-published – that particular area, the, specifically, the publisher-generated category romances, I don't know if there's going to be anything in the future there if the readers who are coming into the genre at this point are expecting to see things that they're not going to find there.

Amanda: And – so I think this is anecdotal.

Sarah: I love some anecdata! Who said we had to know what we're talking about? We'll make shit up!

Amanda: Yeah! I –

Sarah: We've got microphones.

Amanda: – I feel as though readers who are my age – I'm twenty-nine, by the way – readers who are my age and younger aren't reading category romances.

Sarah: No, I don't –

Elyse: I think that the similarity, like you were pointing out, with self-published and category is you know what you're getting. Like, a lot of self-published books are, like, her secret boss's baby. I mean, it's the same thing: it's like, this is what you are getting; I'm going to put it right on the title. And you're right, it's filling that shorter length need where you don't want a book that's five hundred pages; you want a book that's 175.

Sarah: Right. Exactly.

Elyse: And I kind of feel like at this point, Harlequin's just going to run out of titles.

Sarah: [Laughs]

Amanda: Oh, I'm sure they've got duplicates.

Elyse: There's got to be, like, a generator, like some, some massive supercomputer in the basement that's just generating category romance titles at this point.

Sarah: Okay, that's very funny. Well, anything else you want to say?

Elyse: Yeah, I want to talk about that author I found yesterday, but I had to look her up. Okay, so –

Sarah: I want to hear all about it, so go for it!

Elyse: So I found this author I'd never heard of at the romantic suspense party, and she writes, they're really thrillers, more so than romantic suspense. Her name is K. J. Howe, H-O-W-E.

Sarah: We really need a better vocabulary for the different flavors of suspense. It's like contemporary; it's too big of a title –

Elyse: Title, yeah.

Sarah: – to fully encompass. Like, you –

Elyse: Like –

Sarah: – you could be talking about romantic suspense with, like, nineteen pages of entrails and violence –

Elyse: Right.

Sarah: – and I could be talking about suspense where, like, there's some fighting on an airplane and some exotic adventuring like Romancing the Stone. Those are two different things.

Elyse: I think she writes what I would probably describe, it's, it's a recurring character, so it's like thrillers with fucking and a romantic arc that kind of goes through the –

Sarah: Thrillers with fucking.

Elyse: Thriller with fucking. This is why I should be in marketing. The thrillers with fucking genre –

Sarah: I can't believe Walmart and Target haven't just snapped you right up.

Elyse: Right? [Laughs]

Sarah: Imagine that on a bookshelf title.

Elyse: Thrillers with fucking.

Sarah: Thrillers with Fucking.

Elyse: I work in transportation; we've got to be real fucking specific here, okay? Yeah, so anyway, back to K. J. Howe. It's a series of books about a woman who is a kidnapping and ransom specialist, so, like, you know, you hear about businessmen and stuff getting kidnapped in foreign countries and being held for ransom. She's, like, the person who comes in and manages that process to bring them back, and her dark past is that her brother, as a child, was kidnapped and never found again. So this is like –

Sarah: Aw.

Elyse: – all of my catnip. In fact, I got back to the room, and I had to call my mom and tell her about this book, 'cause, like, that's –

Sarah: [Laughs]

Elyse: – that's her catnip as well, and she's like, you better let me read that when you're done!

Sarah: I'm kind of bummed that I don't have a recording of that conversation. Like – [Wisconsin-ish accent] – ma, ma! I found this book; I've got to tell you about it. Oh, tell me all the things!

Elyse: Well, she's from Chicago, so she doesn't do the O.

Sarah: Oh, she's got, she's got the Chicago –

Elyse: She's got the hard A kind of sound.

Sarah: Yeah.

Elyse: Yeah.

Sarah: That's very close to the, the Pittsburgh accent that I grew up with –

Elyse: Yeah.

Sarah: – sounds like that.

Elyse: Yeah, that's exactly what it sounds like. Yeah. Next time I'll just bring, bring that there.

Sarah: Just bring your mom.

Elyse: [Laughs] We'll just record at Rhinebeck somehow.

Sarah: [Laughs] That'd be amazing!

Elyse: Oh God. So yeah, no, I'm really excited for that. Thrillers with fucking.

Sarah: Because you have thrillers with fucking, you have psychological horror.

Elyse: [Whispers] Yes!

Sarah: 'Cause I think that a lot of the un-, I think that a lot of that unreliable narrator, female-centered, creep-tastic, much trafficking in revenge stories that we're seeing, that's a crossover, I think, between suspense and horror. Like, there's a horror element to those books.

Elyse: And there's, like, a, a throwback to Gothics too, because Gothics –

Sarah: Totally.

Elyse: – you never knew – like, you definitely wanted to bone the hero, but he also –

Sarah: [Laughs]

Elyse: – he also might be very bad. There's this, I have to find it –

Amanda: Speaking of Gothics, while you're looking –

Elyse or Sarah: [Whispers] Yes.

Amanda: – Kensington mentioned that they're looking to acquire some Gothic romances.

Sarah: Oooh.

Elyse: Sarah, I have to quit my job.

Amanda: [Laughs]

Elyse: I can do this.

Sarah: You want to acquire them, or do you want to write them?

Elyse: I feel like I could, I could write all the Gothics! No, I really couldn't.

Sarah: [Wisconsin-ish accent] You should totes write the Gothics, eh?

Elyse: I can't write creatively to save my life.

Sarah: Oh, I think Elyse can write a Gothic, eh? What do you think?

Elyse: Set in the plains of Wisconsin.

Amanda: I don't know. I –

Sarah: [Wisconsin-ish accent continues] Oh, well, we saw that girl in the field, and we knew she was dead, so we went and got Granddad with the tractor.

Amanda: I don't know who, if Elyse –

Elyse: Okay –

Amanda: – would be able to keep, like, the setting. Like, I feel like Elyse would just get frustrated and, like, type something in there that's like, what? This doesn't fit at all! And Elyse is like, well, just fuck this stupid thing! And just writes really out of character.

Elyse: So the comment about the body in the field, I watched a Dateline recently about a woman who went missing and was found dead in Green Bay, Wisconsin, not far from where I work, and actually in the last scene in the bar I did a Christmas party in recently. I was like, aw, sweet. So anyway, people from Green Bay and the upper Midwest, we're like, we're basically Canadian is what it amounts to. We just are.

Sarah: You're basically like Canadian Lite.

Elyse: Ca-, we're Canadian Lite, right. And so –

Sarah: You're Diet Canadian.

Elyse: So –

Sarah: It's like Diet Coke, only Canadian.

Elyse: So the blonde –

Amanda: Canadian Zero.

Sarah: Yes! [Laughs]

Elyse: The blonde Dateline lady is trying to get the cops to talk about this case like in a really dramatic way. You know how they always do the thing where, like –

Sarah: [Dramatically] And what did you say?

Elyse: No, they're, they always lead the ques-, it's al-, they always repeat the fucking question. They're always like, and then you found the body, and you realized this case was more dangerous than you thought, and he's like, and then we found the body, and we realized – like, they always repeat what the newscaster says. Anyway, the dudes from Wisconsin, from the GBPD were just like, she's ask- –

Sarah: GBPD.

Elyse: – she's asking 'em questions; she's like, so is that when you thought maybe the boyfriend did it? And they're like, well, you know, we've got to get, we've got to get sufficient evidence to make an arrest on that. Like, it was super Fargo-y –

Sarah: [Laughs]

Elyse: – and you could tell she was getting more and more pissed off, and every time they do these Datelines, like, it's either a dog walker or a jogger that finds the body?

Sarah: Of course.

Elyse: But no, it was two teenage boys who were clearing rocks out of Poppa's field, which is a thousand percent a thing you do on the weekends in Wisconsin, and then you go drink his hard liquor. And they're interviewing the kids, and they're like, did you ever imagine you'd find a human body? And they're like, well, no, but, you know, I mean, sometimes these things happen. You know, like –

Sarah: [Laughs]

Elyse: – no one is playing into their need for drama. Anyway.

Sarah: Oh my God, that's amazing.

Elyse: So there's an author that I'm very excited to read called Laura Purcell, who writes in the horror genre, but she's a woman, and there aren't a lot of women in the horror genre? And she has this book called The Silent Companions. Get this –

Amanda: Where can I get one of those?

Elyse: A silent companion?

[Laughter]

Elyse: That's what, that's what Linus is.

Amanda: No. He is very vocal.

Elyse: When newly widowed Elsie is sent to see out her pregnancy at her late husband's crumbling country estate The Bridge, what greets her is far from the life of wealth and privilege she's expecting. When Elsie married handsome young heir Rupert Bainbridge, she believed she was destined for a life of luxury, but with her husband dead just a few weeks after their marriage, her new servants resentful, and the local villagers actively hostile, Elsie has only her husband's awkward cousin for company, or so she thinks. Inside her new home is a locked door, beyond which is a painted wooden figure, a silent companion, that bears a striking resemblance to Elsie herself.

Sarah: Whaat?

Elyse: The residents of The Bridge are terrified of the figure, but Elsie tries to shrug this off as simple superstition – that is, until she notices the figure's eyes following her.

Amanda: This reminds me of my mom's walk-in closet.

[Laughter]

Amanda: And I'll tell you why.

Sarah: Okay.

Amanda: My –

Sarah: I was not expecting that.

Elyse: No.

Amanda: My aunt used to be a flight attendant on a now-defunct airline, and when she would travel internationally, she would get my mom dolls from all the different countries she went to. She went to Ireland and got this very creepy leprechaun doll, leprechaun doll. It was probably two and a half feet tall, had a very bulbous nose –

Sarah: Ohhh.

Amanda: – bright blue eyes –

Sarah: Ohhh.

Elyse: Nooo.

Amanda: – and, like, gray-haired eyelashes and very rosy cheeks.

Sarah: Nooo!

Amanda: And it wasn't in a box. It was on its stand, and it would sit on the top shelf of my mother's walk-in closet facing the door.

Elyse: Jesus Christ!

Amanda: My brother and I were terrified –

Elyse: Well, yeah!

Amanda: – of this leprechaun doll in my mom's walk-in closet. Like, it was –

Sarah: Ohhh, freaky.

Amanda: – frightening. And I think she knew that we were frightened of it, 'cause we told her, and she's like, I'm not going to move it!

Sarah: She knew you were frightened of it.

Amanda: We wound up telling her, and she didn't bother to hide it. She just left it there. She's like, okay, well –

Elyse: Dolls, dolls are creepy though. Like, I don't – there's something about, like, dolls that freaks me out a little bit.

Sarah: So that brings us to the end of our podcasts from RT and the end of RT, actually, 'cause that was the last one.

If you have ideas or questions or feedback, or you want to tell me that I'm so wrong about everything, this would not be the first time. You can email me at sbjpodcast@gmail.com, and as I said in the intro, if you emailed me and I haven't written back, I just found a whole bunch of email that I should have received in the spam and something other tab of Gmail, and I'm fixing it this week, so if you emailed me and you didn't hear back, feel free to email me again, and I'm really sorry about that.

Speaking of email, I have a message for you guys from Meagan – I hope it's Meg-enn, maybe it's Mee-genn; if I'm saying it wrong, I apologize – and she sent me an email with some audiobook recommendations, and I know you guys love audiobooks, so I wanted to share this with you.

Dear Sarah,

"I'm a long-time fan of the site and podcast, and a newcomer to audiobooks. I had to start listening to books when I was on an award committee for the ALA or I'd never have been able to get through all my reading! (Incidentally, if you're not familiar with the ALA awards The Reading List and The Listen List, they might be of interest to you… Lots of genre fiction, and they come with read-alikes or listen-alikes!)"

Sarah: Librarians need to just stop being so awesome.

"Anyway, when I was catching up on the podcast I was interested to hear that you love a single narrator and are a sucker for accents. Have I got the book for you! Stiletto by Daniel O'Malley is technically the second book in The Rook series, but I read it first and didn't have any trouble following it. The reason I'm suggesting Stiletto instead of book one, The Rook, is that Stiletto is narrated by the amazing Moira Quirk. (How great is that name?) She replaced the narrator of book one, and while I read The Rook rather than listen to it, I've heard that the first narrator wasn't nearly as good. Moira Quirk, meanwhile, has an incredible sense of comedic timing, and the woman knows her way around an accent. Stiletto was the first audiobook I ever listened to where I really understood the appeal of an audiobook.

"She's also the narrator for most, if not all, of Gail Carriger's books. I've already read them, but based on how much I love Moira Quirk I'm considering going back to listen to them on audio. Maybe once I've finished catching up on podcasts. :)"

Sarah: Well, that's cool! Thank you very much for those recommendations. One of the things that summer brings for me, and I'm guessing also for you, is a lot of time in the car, so audiobooks are definitely on my list of things that I want to stock up on.

One audiobook that I purchased recently was inspired by a television show that my husband and I have been watching, so this is a bit of a weird recommendation for everyone, but I'm going to share it anyway. I was a little hesitant to share this on the site, because I don't think that I'm technically watching legal copies of this show; in fact, I'm pretty sure that I'm not, but I'm also pretty sure this show was never released the US, and it is so beautiful and so gorgeously well done and so peaceful and welcoming, and I love it so much that I'm going to tell you about it, but I don't believe that there is a way to watch it in the United States outside of watching it on YouTube. The show is called Great Canal Journeys. It's an older television show, I don't think there have been new ones made in a couple of years, and it is a, it's, I want to say it's a reality show. It's part documentary, part edited, but it's actual journeys. The stars are Timothy West and Prunella Scales, who are British actors, and they've been married for over fifty years, and their favorite thing to do is go on canal journeys. Prunella Scales has dementia when the show is recording, and I think now has advanced Alzheimer's, but it's all about their taking their little canal boat up and down different canals, first in England, then they go to Scotland and Wales. They go to Sweden; they go all over the place. And the show is, it's got that same sort of warm and welcoming, peaceful sort of tone to it that the Great British Bake Off early seasons did. They get annoyed with each other; he gets upset that she can't remember things sometimes. They do their own voiceover in the editing, and they talk about the footage as they're, as they're airing it, but it's also beautifully edited, so you get this sort of story of them and their now-adult children and their marriage, and you get to see these two older people traveling all over the world, which I find really inspiring. So I've been watching that with my husband on YouTube like a terrible, terrible person, because I don't think that there's any legal way for me to get it. However, Timothy West wrote a book called Our Great Canal Journeys: A Lifetime of Memories on Britain's Most Beautiful Waterways, and he narrates it, and he's got a great voice. He does a lot of voiceover work; I think he did a lot of Anthony Trollopes – I wonder if my grandmother ever listened to them – but the Great Canal Journeys book is overlapping some of the television episodes, but we've been listening to it in the car, and it is just lovely, so if you would like a travel recommendation, that would be my recommendation for you.

And that brings me to the end of this episode. If you would like to get in touch with me, please do! Especially if you wrote to me and didn't hear back; I feel really bad about that. Our email address is sbjpodcast@gmail.com, and you can also tweet at me @SmartBitches.

This episode was brought to you by Whiskey Sharp: Torn by Lauren Dane. Beau Petty has been searching his whole life. He has been searching for a place to fill the empty spaces in him, a way to tame his restlessness, and answers to a secret that he has never stopped trying to solve. He was not searching for a woman to claim all of him, but then Cora Silvera walks back into his life, and he is ready to search out all the ways that he can make her his. Cora has spent her entire life as the family nurturer, taking care of others, and she is ready to pass that job on to someone else. It's in the moment that she makes that decision that her former teenage crush reappears, and the draw of their connection is like nothing either of them has experienced. He craves being around her. She accepts him, dark corners and all. Beau thinks Cora has had enough drama in her life, and he wants to protect her from the secrets of his past, even if that means holding back the last pieces of himself. But Cora is no pushover, and she means to claim every piece of him, because sometimes what you find is not what you were searching for. Whiskey Sharp: Torn by Lauren Dane is on sale now wherever books are sold.

This week's transcript is being brought to you by everyone who supports the podcast Patreon. Thank you, folks! You are terrific. The support of the Patreon community means that I have transcripts for each episode, I can transcribe episodes in the archive, and I can maintain equipment for live shows. I also collaborate with the Patreon community to develop questions, so if you'd like to take a look, patreon.com/SmartBitches.

I also want to thank some of the Patreon folks personally, so to Debbie, Jane, Anna, Lil, Eva, and Ann, thank you so very much for being part of our Patreon community.

Are there other ways to support the show? Yes! Sing along or, you know, compose a rhyme in iambic pentameter. You can leave a review however you listen; you can tell a friend; you can subscribe; whatever works. But if you're hanging out with me and making this show part of the podcasts that you listen to, thank you! I am really honored.

The music you're listening to is provided by Sassy Outwater. She's on Twitter @SassyOutwater. This is the Peatbog Faeries Live @ 25. This track is called "Spiders," and you can find this album at Amazon, at iTunes, and wherever you buy your funky tunes. You can also learn more about Peatbog Faeries at peatbogfaeries.com, and their whole back catalog is pretty awesome.

Now I get to tell you what's coming up on the website! You know there's a website, right? Yep! True story! There's a website; it was there first. Coming up this weekend, we have a guest review from Tara Scott, who reviews a lot of new lesbian romances for us. We also have a Hide Your Wallet, which is where we talk about all the new July books that we want to buy, and then we go buy more books because everyone else is talking about the books that they want to buy, and much like Whatcha Reading? it's kind of expensive. We're also all about having less than zero impulse control here, so everyone who likes to find out what's on sale and what's coming out this month, come hang out with us. We also have a lovely guest review of The Kiss Quotient from a reader whose writing will probably make you cry, and we have, of course, a Bachelorette recap, reviews of new romances in several genres, and Cover Awe. I hope you will stop by and hang out with us.

I will have links to all of the books and television shows and things that we discussed in this episode and links to some of the things we talked about, including Rebel Base from Kensington.

But as always, I end with a terrible joke. This one's pretty bad, and I'm pretty pleased with this one because – [laughs] – my kids went to camp, and before they left, they wanted to watch The Princess Bride, so this is the perfect joke for me. This one comes from Beth P. Thank you, Beth P.

What do you call a chronic fear of giants?

What do you call a chronic fear of giants?

Fee-fi-phobia!

[Laughs] Anybody want a peanut? Ah, that was so great! Thank you, Beth P.!

So on behalf of Amanda and Elyse and everyone here and all of the cats on my desk, we wish you the very best of reading. Have a wonderful weekend, and we will see you here next week.

[leggy music]

This podcast transcript was handcrafted with meticulous skill by Garlic Knitter. Many thanks.

The post 305. More from RT 2018: There Are Some Books Around Here, and Some Creepy Dolls appeared first on Guaripete.

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Tartan, Ghosts, & More

Posted: 29 Jun 2018 07:04 AM PDT

  • Clean Sweep

    Clean Sweep by Ilona Andrews

    Clean Sweep by Ilona Andrews is $2.99! I've heard good things about this book and it has a mix of scifi and paranormal elements, and I really don't know why I'm dragging my feet on reading this series. Have you read it and how does it compare to Kate Daniels and Hidden Legacy?

    On the outside, Dina Demille is the epitome of normal. She runs a quaint Victorian Bed and Breakfast in a small Texas town, owns a Shih Tzu named Beast, and is a perfect neighbor, whose biggest problem should be what to serve her guests for breakfast. But Dina is…different: Her broom is a deadly weapon; her Inn is magic and thinks for itself. Meant to be a lodging for otherworldly visitors, the only permanent guest is a retired Galactic aristocrat who can't leave the grounds because she's responsible for the deaths of millions and someone might shoot her on sight. Under the circumstances, "normal" is a bit of a stretch for Dina.

    And now, something with wicked claws and deepwater teeth has begun to hunt at night…Feeling responsible for her neighbors, Dina decides to get involved. Before long, she has to juggle dealing with the annoyingly attractive, ex-military, new neighbor, Sean Evans—an alpha-strain werewolf—and the equally arresting cosmic vampire soldier, Arland, while trying to keep her inn and its guests safe. But the enemy she's facing is unlike anything she's ever encountered before. It's smart, vicious, and lethal, and putting herself between this creature and her neighbors might just cost her everything.

    Add to Goodreads To-Read List →

    This book is on sale at:
  • Bad Bachelor

    Bad Bachelor by Stefanie London

    Bad Bachelor by Stefanie London is $2.99 at most vendors and $1.99 at Barnes & Noble! I mostly enjoyed this one; there's a review coming soon. But I had to overcome some issues to really get to the good stuff. Your mileage may vary depending on your reading patience.

    Everybody's talking about the hot new app reviewing New York's most eligible bachelors. But why focus on prince charming when you can read the latest dirt on the lowest-ranked "Bad Bachelors"—NYC's most notorious bad boys.

    If one more person mentions Bad Bachelors to Reed McMahon, someone's gonna get hurt. A PR whiz, Reed is known as an 'image fixer' but his womanizing ways have caught up with him. What he needs is a PR miracle of his own.

    When Reed strolls into Darcy Greer's workplace offering to help save the struggling library, she isn't buying it. The prickly Brooklynite knows Reed is exactly the kind of guy she should avoid. But the library does need his help. As she reluctantly works with Reed, she realizes there's more to a man than his reputation. Maybe, just maybe, Bad Bachelor #1 is THE one for her.

    Add to Goodreads To-Read List →

    This book is on sale at:
  • Devil in Tartan

    Devil in Tartan by Julia London

    Devil in Tartan by Julia London is $1.99! This is part of the Highland Grooms series and I'm not sure what's going on with the hero's hair here. Maybe he has one of those Beyonce hair fans around. The heroine captures the hero's ship, which is major catnip, but some wished there was more of a focus on the romance.

    Peril and passion on enemy seas… 

    Lottie Livingstone bears the weight of an island on her shoulders. Under threat of losing their home, she and her clan take to the seas to sell a shipload of illegal whiskey. When an attack leaves them vulnerable, she transforms from a maiden daughter to a clever warrior. For survival, she orchestrates the siege of a rival's ship and now holds the devilish Scottish captain Aulay Mackenzie under her command.

    Tied, captive and forced to watch a stunning siren commandeer the Mackenzie ship, Aulay burns with the desire to seize control—of the ship and Lottie. He has resigned himself to a life of solitude on the open seas, but her beauty tantalizes him like nothing has before. As authorities and enemies close in, he is torn between surrendering her to justice and defending her from assailants. He'll lose her forever, unless he's willing to sacrifice the unimaginable…

    Add to Goodreads To-Read List →

    This book is on sale at:
  • Scent of Roses

    Scent of Roses by Kat Martin

    Scent of Roses by Kat Martin is 99c! This was originally published in 2006 and has since had a cover redesign. Readers enjoyed the Gothic elements in this one, but have mentioned things are a bit slow to start. It has a 3.8-star rating on Goodreads.

    Read this thrilling classic romantic suspense from New York Times bestselling author Kat Martin.

    Elizabeth doesn't believe in ghosts. But this time she has no choice.

    Family counselor Elizabeth Conner isn't sure what to think when Maria Santiago comes to her for help. Pregnant and terrified, Maria claims to be visited each night by the ghost of a little girl, warning her to flee. Her husband, Miguel, a migrant worker at Harcourt Farms in the San Joaquin Valley, dismisses her fears as hormonal changes. Sympathetic to the young woman, Elizabeth agrees to help by contacting Miguel's employers, who own the cottage where the young couple lives.

    Elizabeth immediately picks up on the deep enmity between the two Harcourt brothers: Carson, the handsome scion running the estate for his incapacitated father, and Zack, the rebellious black sheep. While Carson is more interested in Elizabeth than in her concerns, Zack grudgingly agrees to help her look into the history of the house.

    But even as unexpected desire draws them together, Elizabeth and Zack feel something dark and disturbing at the house. And when the cloying scent and lingering chill of pure evil surround her, Elizabeth knows something terrible has happened here before, something that has its roots in murder…

    Add to Goodreads To-Read List →

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Tipping the Scales

Posted: 29 Jun 2018 07:04 AM PDT

If Donald Trump's nominee to replace Justice Anthony Kennedy, who announced his retirement on June 27, is confirmed by the Senate, the Supreme Court will have a stable majority of conservative justices for the first time since before the New Deal. Kennedy's successor will be Trump's second Surpreme Court pick and may not be his last. Justice Ruth Bader Ginsburg, who is eighty-five, clearly wishes to stay on the Court as long as Trump is president. So does Justice Stephen Breyer, who turns eighty later this year. But neither is immortal. Especially if Trump is reelected, he could potentially replace both of these justices with staunch young conservatives.

Lady Justice
Lady Justice; drawing by Gerald Scarfe

The current Court's four consistent conservatives are all substantially younger than Kennedy, Ginsburg, and Breyer. The oldest, Clarence Thomas, is sixty-nine. Samuel Alito is sixty-eight, Chief Justice John Roberts is sixty-three, and Neil Gorsuch is just fifty. All are self-described constitutional originalists; all favor interpreting statutes based on text rather than their intention; and all have strongly pro-business judicial records. Should Trump appoint a fifth conservative—to say nothing of a sixth or seventh—the conservative majority could easily last a generation.

In light of this prospect, it is not too soon to start asking what a conservative Supreme Court would mean for the country. A conservative jurisprudence, aggressively applied, would reshape American law and politics. It would reinterpret fundamental issues of individual and privacy rights, health care, employment, national security, and the environment. These changes would in turn affect electoral politics. The range of conservative legislation that could survive judicial review would expand, while the range of progressive legislation that could do so would narrow.

In retrospect, it is remarkable that a strong conservative majority on the Court has not emerged before now. Since 1980, Republicans have held the presidency for twenty-two years and Democrats for sixteen. Ronald Reagan, who campaigned on the platform of choosing conservative judges, appointed three justices—Antonin Scalia, Sandra Day O'Connor, and Kennedy—and elevated William Rehnquist to the chief justiceship. That should have established conservative control. Yet O'Connor turned out to be a centrist, controlling the Court for a quarter-century by casting the decisive fifth vote in controversial cases. When she retired in 2006, Kennedy assumed her position as the swing justice and unexpectedly emerged as a liberal hero, voting, for example, to extend constitutional rights to detainees in Guantánamo Bay and marriage rights to same-sex couples.1

George H.W. Bush also had the chance to consolidate a conservative majority. He appointed Thomas to replace Thurgood Marshall but also replaced William Brennan with David Souter, who underwent a subtle yet significant evolution from Burkean conservative to Burkean liberal. Bill Clinton, George W. Bush, and Barack Obama each got two justices confirmed, which maintained the Court's balance. That conservative control has been so long in coming reflects either miscalculation by Reagan and George H.W. Bush or (more likely) something less than full-throated judicial conservatism on their part.

There is one glaring anomaly in the pattern of appointments. Obama should have been able to get Merrick Garland confirmed after Scalia died in February 2016—which would have provided some insulation against a conservative majority. The Senate's decision to block the moderate Garland purely because Obama nominated him transformed both the composition of the Court and the norms of the confirmation process.

A Senate controlled by Democrats would probably refuse to confirm any Trump Supreme Court nominee, no matter how much time remains in his presidency. If justices can only be confirmed when the president and the Senate majority come from the same party, we will witness a shrinking Supreme Court forced to operate with eight, seven, or even six justices. In this scenario, a president whose party controls the Senate would have the chance to fill all those vacancies with justices who share his or her ideology. The Court's politics would no longer drift gradually but veer suddenly to the left or the right.

One of the first things likely to happen if the Court's majority turns conservative is that state legislatures in heavily Republican states will pass legislation restricting abortion rights. Already, Mississippi has passed a law barring abortions after fifteen weeks—long before viability. A federal court blocked the law, but its passage signals clearly that the Court will come under pressure to revisit Roe v. Wade.

In the past, Chief Justice Roberts has shown a decided preference for changing constitutional law indirectly. Rather than overturning landmark liberal precedents outright, he prefers to minimize their importance by narrowing them and limiting their holdings to factual situations that no longer exist. He would surely prefer that Roe suffer death by a thousand cuts rather than see the Court accused of overturning it in a stroke and casting the country back to the days of coat-hanger and back-alley abortions.

Yet the chief justice is only first among equals. The Court's other conservatives have already shown a willingness not to follow his lead, as occurred in the Affordable Care Act case, NFIB v. Sebelius, when they left Roberts alone in upholding the ACA's individual mandate. Given the assertive ideology, cohesive political views, and no-holds-barred style of many younger judicial conservatives, a conservative majority could be expected to reverse Roe as long as Roberts concurred in the decision, regardless of whether he joined the opinion.

For pro-choice advocates, the fall of Roe would be a disastrous defeat. Brown v. Board of Education was controversial when decided but gained wide acceptance over time. The Roe decision has never achieved a similar consensus. Many Court observers, including Ginsburg, have suggested that it generated lasting controversy because the Court decided it without first laying the foundation with prior incremental decisions. As a result, since 1973, pro-choice advocates have been fighting a rearguard action to defend the right to abortion. For Roe to be overturned would be the ultimate failure of nearly half a century of pro-choice strategy.

The aftermath of a decision striking down the right to abortion would be complicated. Democrats would have to convince majorities in each state to protect abortion. It could become impossible for women to obtain legal abortions in the numerous states that have tried to enact more restrictive abortion laws in recent decades (only to have them struck down by the courts). Abortions could be outlawed in much or all of the South, the Southwest, and the intermountain West. Those with means would still be able to travel to states that permitted them, but women too poor or young to travel would find it vastly harder to end unwanted pregnancies. Many people would probably react by taking to the streets, organizing, and voting against such restrictive laws and the politicians who put them in place. Abortion rights would immediately become a wedge issue for Democrats. Their goal would be to push women who might otherwise vote Republican into the Democratic column.

Once abortion rights were constitutionally recognized, liberal efforts in connection with them were, rationally enough, redirected to preserving the composition of the courts, rather than actively trying to convince those who rejected such rights to change their views. For as long as abortion has been legal, conservatives, for their part, have been able to count on the crucial votes of centrists who prefer conservative candidates but quietly want to preserve the option of abortion. With Roe overturned, Republicans might lose the 34 percent of their voters who believe that abortion should be legal in most or all cases.

Just as liberals would no longer be able to rely on the Supreme Court to strike down anti-abortion measures, they would have to concentrate on winning elections and lobbying members of Congress to secure other rights that they are currently seeking to win in court. At present, the fight for transgender rights is heavily aimed at convincing judges to extend existing antidiscrimination protections to transgender people. Because a conservative Supreme Court would not in the foreseeable future do so, progressives would have to lobby Congress and state legislatures for such protections.

Over time, the fight could well prove successful. As the example of gay marriage shows, changes in values can eventually take place and even come to be broad-based. Support for gay marriage has risen steadily for twenty years, from 27 percent nationally in 1996 to 64 percent in 2017. Remarkably, the shift can be discerned even among evangelicals born after 1964, 49 percent of whom now believe gay marriage should be legal, compared to just 35 percent of all evangelicals.

For this reason, gay marriage may be one significant progressive rights victory that could survive even a conservative majority on the Court. Emboldened conservative state legislators might try to pass new laws contravening the Obergefell precedent and restricting marriage to one man and one woman. Yet the political cost of such efforts would probably be extremely high, as not only liberals but also mainstream corporate interests would respond with state-level boycotts. Some conservative justices could potentially accept gay marriage as a fait accompli, given how quickly attitudes toward it are changing. A conservative Court would no doubt allow religious liberty exemptions for merchants who do not wish to serve gay couples.2 But if gay marriage remains the law of the land, such exemptions will come to be seen as compensatory concessions to the losing side in a culture war, rather than steps toward reversal of the right to marriage.

In addition to rolling back existing constitutional rights, a conservative Supreme Court could block progressive government programs. One example is affirmative action. Over decades, the Court has used the right to equal protection of the laws to whittle down affirmative action until its only important remaining application is in higher-education admissions. In 2016, to the surprise of many observers, Kennedy cast the deciding vote to preserve this practice—despite having dissented thirteen years earlier when O'Connor used her swing vote to reach the same result.3

A conservative majority unconcerned with diversity as a social good in itself would not find it difficult to bar affirmative action altogether on the principle that white or Asian applicants are treated unequally when race is a factor in admissions. Unlike in the case of abortion rights, there would be no way for states to get around a constitutional ban on affirmative action.

Two responses would probably follow such a decision. Progressive students would protest vociferously; and administrators who have come to believe in the value of diversity as a good in itself would seek new ways to create diverse student bodies without formally taking account of race. Economically based affirmative action could be combined with school-based admissions quotas (such as admitting the top few percent of students from some schools or regions) that are formally race-neutral but track racial demographics. Universities could also invest in college preparation for underprivileged middle and high school students and actively recruit strong minority students.

A conservative Court majority could conceivably seek to limit and even overturn other progressive legislation by restricting the legitimate scope of the states' or Congress's activities. In some respects, it might bring the Court closer to the libertarian, property-protecting constitutional interpretation of the early twentieth century. In the Lochner era, so-called after a 1905 decision blocking a New York State maximum-hours law for bakers, the Court struck down much progressive state legislation as violating the liberty of contract, a right it found in the due process clause of the Fourteenth Amendment. Then and now, libertarian judicial activism entails blocking legislation that is thought to interfere with the ability of supposedly free economic actors to make economic decisions and form contractual relationships as they choose.

Libertarian thinking is alive among the conservative justices. In 2010, for example, the law professor Randy Barnett argued that the individual mandate of the Affordable Care Act was unconstitutional because it required people to do something they were not doing—buying insurance—rather than regulating something they were already doing. Nearly all legal scholars found Barnett's libertarian distinction between action and inaction constitutionally meaningless. The conservative justices embraced it, however, holding the mandate unconstitutional as beyond the authority of Congress under the commerce clause; Roberts and the four liberals voted to sustain the mandate on the grounds that it was part of Congress's taxing power.

But the conservative justices would be very unlikely to go back to Lochner explicitly. The repudiation of the liberty-of-contract jurisprudence that characterized the Lochner era is still an important part of constitutional orthodoxy. Antonin Scalia held up the Lochner decision as the very model of bad jurisprudence, and frequently accused liberals like Kennedy of inventing constitutional rights in the vein of Lochner. A conservative court would be likelier to practice a less radical version of judicial activism, one in which the justices opportunistically use existing doctrinal tools to undermine progressive legislation.

Roberts, for instance, invoked states' rights to block the Medicaid expansion proposed in the ACA. He held that Congress's threat to revoke states' Medicaid funding unless they accepted expansion amounted to an unconstitutional form of coercion. Similarly, in Shelby County v. Holder (2013), Roberts struck down a substantial part of the Voting Rights Act by arguing that Congress had drawn on "forty-year-old facts" about racial discrimination in voting, rather than citing "current conditions," to justify extending the law. As a result, states and municipalities with long histories of racial gerrymandering can now redistrict without first submitting their plan to the Department of Justice for pre-clearance, as the Voting Rights Act requires.

Faced with this sort of conservative judicial activism, liberals could find themselves thwarted in passing progressive social legislation. The hard case would arise if the legislation enjoyed substantial and durable national support and was nonetheless blocked by the Court. That is not what happened with the ACA; the law passed by a bare partisan majority, and the conservative justices merely helped undermine legislation that already stood on shaky political ground. It is what happened during the New Deal, when the justices' resistance led Franklin Roosevelt to try to pack the Court. The Court folded, and Roosevelt prevailed. Today's Court, however, enjoys more independence and public legitimacy than the Court that Roosevelt confronted did, and it is far from obvious that it would give in to Democratic pressure.

Matters of national security—especially those that concern presidential power—would pose a problem for a conservative Court. Conservatives are torn between two competing views: one that grants the president near-monarchic authority when it comes to national security, and another that allows the president to be constrained by Congress. To complicate matters further, they have tended to support presidential power when the president is a Republican, while sharply limiting it when the president is a Democrat.

This conflict was on view in Zivotofsky v. Kerry (2015), an important case about whether the president or Congress would have the final word about the passports of US citizens born in Jerusalem. Congress wanted passport bearers to be able to list their country of birth as Israel; the Obama administration wanted to maintain the status quo, in which the country of birth was given as "Jerusalem" to avoid taking a stand on the city's status. Ultimately, the Court held that the president could ignore Congress's command to allow Israel to be designated because his authority in foreign affairs includes the right to recognize foreign states.

Unsympathetic to the Obama administration's assertion of executive power, Scalia dissented. He pointed out that under the established doctrinal framework, the president's power is at "its lowest ebb" when Congress has directly spoken. Thomas, also unsympathetic to Obama, dissented separately. But he insisted that the extent of the president's inherent powers, as the Constitution originally defined them, should be determined by looking at the royal prerogatives that the British king in principle possessed in the era of the founding.4

Clarence Thomas
Clarence Thomas; drawing by David Levine

Outraged, Scalia accused Thomas of constructing "a presidency more reminiscent of George III than George Washington." Their disagreement went back to 2004, when Scalia and Thomas split sharply over whether the Bush administration could detain an American citizen without trial on suspicion of affiliation with al-Qaeda. Scalia thought this violated the basic right to habeas corpus; Thomas believed it fell within the president's national security power.

A conservative post-Scalia Supreme Court would probably rule quite differently on presidential power and national security based on who the president was. It would be likely to defer to a conservative president, deploying Thomas's theory of the strong executive. That is essentially what happened in Trump v. Hawaii, the travel ban case, in which the conservative majority relied on what it called "core" executive power as an excuse to avoid the anti-Muslim bias that actually motivated the ban. If a liberal president tried to deploy unilateral executive power, however, the Court's conservatives might well fall back on the Scalia line of skepticism, insisting that Congress's competing powers are necessary to constrain the president. A Democratic president might then end up blocked by a conservative Court unless the Democrats controlled Congress. If Congress and the president agreed, even a conservative Court could be expected to defer to them on matters of national security. Conservatives might in fact be more deferential under these conditions than a liberal Court would be to a Republican president and Republican-controlled Congress, because they have at hand the Thomas argument for radical deference to the executive, which no liberal justice endorses. Such deference seems especially likely to occur if Trump has appointed the justices who control the outcome.

Environmental regulation is the final area in which an activist conservative Court could have a substantial effect. The source of the Court's power here lies in the relationship between environmental legislation and regulation. In general, Congress has chosen to deal with the environment by passing very general laws and delegating the authority to implement them to regulatory agencies like the Environmental Protection Agency.

An activist conservative Court could make life difficult for a Democratic EPA by blocking regulation directly, declaring it "arbitrary and capricious" under the Administrative Procedure Act. The courts are only supposed to use this tool to block actions that are genuinely irrational or that exceed the agency's legal authority; but the Court could deploy it much more aggressively than has been done in the past.

In practice, environmentalists could try to get around such a judicial barrier by lobbying Congress to pass laws directing that a specific regulation be adopted, rather than delegating so much authority to the EPA. If public opinion were strongly enough in favor of increased environmental protection, a Democratic Congress and president could probably get some regulation adopted despite judicial resistance.

A conservative Court could also impede environmental reform by second-guessing agencies' interpretations of federal law. According to what is known as the "Chevron doctrine," when federal law is ambiguous, the Court will defer to an agency's interpretation of the law provided it is reasonable. This doctrine is intended to give substantial power to agencies, binding the hands of judges who might otherwise disagree with the agencies' policies.

Today Chevron is under attack, most prominently from Gorsuch, who has written disparagingly of the idea that courts would have anything less than full control over the meaning of federal statutes. This is bad news for environmental regulation—and that is almost certainly part of the point. A Court that does not defer to an agency's interpretation of federal law can substitute its own policy judgment for that of the agency. If that agency is the EPA, and its judgment is being used to expand environmental protection, then a conservative Court that overturned Chevron or weakened its rule of deference would stand ready to reverse the agency's course.

The only solution for environmentalists would be to pass new laws that would expressly enact regulation, rather than delegating regulatory authority to the agencies. That would be hard to do, especially given the established norm that agencies rather than Congress do most environmental regulating. But if a conservative Court systematically uses statutory interpretation to block environmental regulation, that division of labor may have to change. Instead of making arguments to the EPA or other agencies, environmentalists would have to direct their efforts more directly toward Congress itself.

A durable conservative majority on the Supreme Court could, then, impose substantial changes in American rights and law, especially in areas where liberals have in recent decades relied on courts and administrative agencies rather than Congress or state legislatures to implement progressive policies. Those who oppose such changes should begin considering the appropriate political responses, such as choosing which issues should be targeted for grassroots organizing and lobbying state legislatures and Congress. Ultimately, Democrats cannot rely on judges for social progress. A functioning liberal democracy requires a liberal populace that is prepared to vote for the policies it wants.

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Not So Identical

Posted: 29 Jun 2018 07:04 AM PDT

In response to:

The Curse of Cortés from the May 24, 2018 issue

To the Editors:

Álvaro Enrigue states that the New Laws of 1542 gave colonial Mexico's "indigenous subjects rights identical to those of Spaniards" ["The Curse of Cortés," NYR, May 24]. This was far from the case. Various forms of forced labor continued to be inflicted upon the indigenous (encomienda, repartimiento). A special tax, known as tribute, was levied only on Indians. There was a wide variety of other restrictions placed on the indigenous, including being prohibited from riding horses, becoming priests, entering the university, wearing European-style clothing, residing in certain urban areas, and being forcibly settled in compact hamlets (congregation).

Philip L. Russell
Austin, Texas

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On Jonas Mekas: An Exchange

Posted: 29 Jun 2018 07:04 AM PDT

In response to:

I Was There from the June 7, 2018 issue

Michel Delsol/Getty Images

Jonas Mekas at Anthology Film Archives, New York City, 1987

To the Editors:

A historian may have the responsibility to uncover facts that remain obscure and, in doing so, to correct even the memories of those who have witnessed or participated in the events in question. What he does not have the right to do is, even through mere implication, to use his questioning to impute guilt to any individual without positive evidence to support the charge. Nor is it justified to use the subject's unwillingness to discuss such matters to imply guilt.

Jonas Mekas, whose accomplishments as a poet, writer, and filmmaker as well as a founder of the magazine Film Culture and Anthology Film Archives Michael Casper sets out at the beginning of his article "I Was There" [NYR, June 7], is evidently an unreliable narrator of the events he lived through during World War II. Casper points out that Mekas has spoken of the German occupation of Lithuania as having begun in 1942, when in fact it happened the previous year. It's strange that Mekas would so misremember an event that had such consequences for himself and his country, but what ulterior motive can be attributed to a misstatement that anyone can correct through a simple Google search? Casper seems sure that Mekas has something to hide.

I should say a word here about my own parti pris. I write, first of all, as someone lucky enough as a teenager to have latched onto the Village Voice when Mekas was still writing there, and to have had my eyes opened to the potential of cinema before I'd even seen the films he was writing about. Later I got to know a small portion of Mekas's voluminous work in film and video; and, after I was told, on a visit to Vilnius in 2007, that in Lithuania Mekas was best known as a poet rather than a filmmaker, I sought out his translated poetry. Later I met him on a couple of occasions, and—without getting to know him well—found him to be the gentle and generous soul I imagined from his writing and filmmaking. I've contributed a brief essay on one of his early poems to a forthcoming Festschrift.

Those of us who admire Mekas's films, writings, and personal kindness can hardly object to Casper's effort to reread his early writings in the context in which they were first published—publications Mekas later described simply as a "provincial weekly" and a "national semi-literary weekly" but that Casper clarifies were vehicles of, among other things, pro-German and anti-Semitic propaganda. Although it is a relief, though hardly a surprise, to learn of Mekas that, as Casper says, "none of his writings is anti-Semitic," it is dismaying to learn of their publication in such vicious company—though we probably shouldn't be surprised that this was the price of publishing anything at all, other than clandestinely, in occupied Lithuania.

Casper quotes Mekas as saying that later, in 1943–1944, "he became involved in anti-German activity"—and Casper confirms that it was at this "late stage in the war" that "most anti-Nazi activism began to occur among Lithuanians." Still, he does not accept Mekas's account of having finally fled Lithuania on account of his fear of arrest by the Germans, suggesting instead that it was the advancing Soviets he was afraid of. Given that Mekas had been active against the Soviet occupation that preceded the arrival of the Germans, this is plausible, but Casper presents no evidence against Mekas's own explanation: he was afraid that a typewriter he'd been using to create a clandestine publication would be used to identify him. Casper cites the view of another authority, that 99 percent of those who fled Lithuania in 1944 were fleeing the Soviets, but this does not in itself throw any doubt on Mekas's account. And if he was equally afraid of both sides, as he undoubtedly had a right to be, would that materially change the story?

Still, it's undoubtedly true that, as Casper complains, Mekas "has been elusive when he addresses the war years, about which he mixes up important dates." He seems to present himself as a witness to events he couldn't have seen and to have forgotten things he actually experienced. But Mekas's own explanation for his inaccuracies—the trauma of living amidst so many murders, and the need to respond to them as a poet if at all—seems worthy of more respect. Still, one thing should be clear: Casper has uncovered no evidence that Mekas ever did anything to be ashamed of, aside from his work on papers that published anti-Semitic material—none of which he himself wrote.

And yet Casper does not accept that this revelation is enough. In the end, he cites a 1978 account of a dream in which Mekas found himself having killed someone to encapsulate "the painful feelings of guilt and complicity" with which Mekas's war experiences left him. The strong implication is that Mekas must have something more on his conscience than the survivor's guilt that we've all read about, that perhaps he like so many others did something terrible in Lithuania—perhaps even killed someone himself. Really? Of course, Casper is smart enough to leave that implication unstated—to give himself enough wiggle room to deny that he ever intended to denigrate Mekas's reputation in this shameful way. But then, don't we all have our ways of being elusive when we want to get away with something? In any case, Casper's presumption that, even in the absence of any sign of wrongdoing, Mekas owes a more detailed account of himself than he has cared to provide strikes me as having more in common with the attitude of an operative of Trump's ICE confronting an asylum seeker than with that of a disinterested scholar.

Barry Schwabsky
New York City

Michael Casper replies:

I'm grateful that Barry Schwabsky has given me an opportunity to clarify my aims in writing about the life and work of Jonas Mekas. Mekas is, as Schwabsky points out, a kind and generous person who has mentored generations of aspiring filmmakers. He has had a long and productive life, and his stature is secure in the history of cinema and the present art world of New York. The goal of my essay was not to find "wrongdoing" by Mekas, as Schwabsky puts it, but rather, as I state at the outset, to demonstrate that "Mekas's life during the war years was more complicated than he makes it out to be." With the help of other sources, I situate his activities, statements, and writings, as best I can, in their historical context. I try to be fair to him, while remaining fair to the history and to the other people with whom his life intersected, especially the victims of mass violence in Biržai.

Mekas was not just a naive, neutral poet wandering the fields and forests of the Lithuanian countryside, as he would have us believe. He was deeply involved in political activism that led him to support the Nazi occupation of Lithuania during the critical period when Jews were killed; he only turned against the Nazis later, when, as he told me, "it became clear that they're not going to give Lithuania real independence." His involvement in these underground activities and above-ground publishing was exceptional for someone his age. While Mekas seems to have engaged in some anti-Nazi activism from 1943–1944—no doubt bravely and at great risk to himself—he has repeatedly manipulated his story, taking advantage of people's ignorance of wartime Lithuania, to make himself appear, when useful, as victim, hero, or oblivious bystander. This is not merely an academic matter, an attempt "to uncover facts that remain obscure," in Schwabsky's words. Mekas's experience of the war is at the heart of his highly autobiographical work, and his attendant artistic positions—extreme subjectivity, negation of history, reverence for romanticized rural folkways—pulsed through the American counterculture of the 1950s and 1960s. You can't understand Mekas and his work without understanding where he and his ideas came from.

Schwabsky says that Mekas seems to remember "events he couldn't have seen." Based on my research, I think it's possible that Mekas could have seen them. I do not think that Mekas was a killer, and I cited several pieces of evidence to underscore this point. Schwabsky claims that I do "not have the right" to attribute guilt to Mekas, but I bring up the question of guilt in the context of Mekas's own statement about Lithuanians who did kill Jews: "Isn't a not-small part of the curse and guilt of what you did also on me?"

Mekas has republished dozens of poems he wrote during the war, demonstrating that he is able to retrieve aspects of these years that reflect well on him. Schwabsky defends this selective memory of the war and suggests that it is perhaps an involuntary response to trauma. But in April, in London, Hans Ulrich Obrist asked Mekas at a public interview about the historian Eric Hobsbawm's directive for the "need to protest against forgetting." Mekas interrupted the question to declare, "My dream is that humanity someday would totally lose all memory. So there wouldn't be always remembering who did what to my nation, to me." This suggests to me that Mekas's memory is not only selective but ideologically so. As for Mekas's films, the truth of his life does not diminish the beauty of his work; it complicates and even enhances it.

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The Hardest Guess-The-Writer Quiz

Posted: 29 Jun 2018 07:04 AM PDT

The five anonymous minibiographies below are drawn from the lives of writers in our interview archives. Think you've got what it takes to identify them based on only the strangest and most idiosyncratic details of their lives? On our last quiz, only twenty-four percent of our readers got a perfect score — but we're ruthless and haven't made this one any easier. Be among the first to correctly identify all five and you could win a copy of The Paris Review's newest book, The Writer's Chapbook. The winner will be drawn on Friday, July 6th, and contacted via email.

Matt B. Weir is a writer living in New York. These anonymous biographies are part of his larger ongoing series.

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Greek Tragedy in the Laundromat

Posted: 29 Jun 2018 07:04 AM PDT

 

Jason Novak is a cartoonist in Oakland, California.

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What Comes After Idealism?

Posted: 29 Jun 2018 07:04 AM PDT

From the Women's March on Washington.

"Class of '36, I guess we did something wrong."

This was what my grandmother wrote to her Barnard College classmates, fifty years after they had all graduated. My grandmother was charismatic and uncompromising, equally critical of capitalism and sentimentality. In her life as a Westchester housewife/radical leftist, she'd planned protests, played tennis, and published mystery novels. When her children were grown, she moved to Manhattan, waking every morning at five to walk briskly around Central Park (she was only mugged a few times.) She spent the rest of the day writing and tending the ivy she'd planted to beautify the trees along her block. Every Saturday she organized against US atrocities in Central America.

Days before she died in 1992, while attached to an IV, a blood transfusion, and oxygen, she dictated the final paragraph of her eighteenth book to my mother. The book was, she explained, the first in a new series she planned to write. At her memorial, a week later, held in a classroom at Barnard College, her five children yelled and laughed and interrupted one another. She'd taught them to rebel against society's mawkish ceremonies, like memorial services, as well as its unjust institutions. Her children all inherited her radical politics, and they raised us, her twelve grandchildren, in the same mode. You can be anything, they joked, as long as it's a public defender. Interpreting this broadly, we complied.

A month after the memorial, I received in the mail a thick, spiral-bound book of my grandmother's unpublished writing, compiled by my aunt. While most of the pages are filled with witty poems that my grandmother composed for celebrations, there is also a photocopy from her fiftieth reunion book, one of those alumni books to which you're invited to send in a list of your degrees and progeny along with a brief life update. But my grandmother didn't send in an update. She sent a condemnation in five sentences. "Anyone our age has to stand abashed at the state of the world," she begins. "For thirty or so years after we graduated, we felt, we may have been entitled to feel, vaguely self-congratulatory: if we preoccupied ourselves with such matters at all, we could assign to our efforts a small but perceptible effect; things were getting better. That comfortable illusion no longer seems to me possible. Put a finger anyplace on the globe today, and there is warfare, harassment, piles of dreadful weapons, appalling gaps between rich and poor." She finishes with her biting summation, the first-person plural opening its arms to include every alumna: "Class of '36, I guess we did something wrong."

That despair in her words? I know it well. As a family of atheist Jews, our only god was cynicism. I'd been told my whole life: Work hard to change the world, but guess what? Despite your efforts, the world will grow increasingly fucked.

Her words remind me, more than anything, of a picture book I read as a child, whose title I can now no longer recall. I've searched for it on the internet, to no avail. It was about an old, witchy woman who tried to rid the world of nighttime. With her broom, she swept frantically at the sky all night, resting victoriously when morning broke, only to be devastated when darkness fell again. I was horrified by the book's metaphoric implications. It was my earliest introduction to futility.

As I became an adult, I tried, peripatetically and desultorily, to keep my grandmother's admonitions in mind. I attended protests and planned boycotts, but they were always clearly the wrong protests and boycotts, because all around me night continued to fall; things got worse. I grew angry, rolled my eyes at bumper stickers, at articles preaching to the choir, at everyone's insufficient efforts.

Out of that rage, I began to write a novel. I moved to Manhattan, not far from my grandmother's block, where the ivy no longer grew. I wanted to write about being my grandmother's granddaughter, about inheriting an idealism laced with disillusionment. I wanted to explain how it felt to grow up with a feverish love for Woody Guthrie's anti-fascism and Cesar Chavez's hunger strikes and for linking arms at a protest, for singing "We Shall Overcome," and for that love to be tarnished, as if we stood under dark clouds that spelled out the words DOOM and NOT GOING TO HELP.

The book began out of rage and, I'll admit, hubris—a youthful idealism. I remember a professor telling me that no novel could be written in less than two years. I nodded and inwardly disagreed, confident that I'd finish in a year, eighteen months tops, after which I'd finally go to school to become, in the narrowest sense, a public defender.

In fact, it took me fifteen years to finish that book. I wrote other things during that decade and a half. I taught classes, raised babies. But still, intermittently for fifteen years I worked on draft after draft, each one somehow wrong.

A strange thing happened to me during this time of failure. I'd begun the book furious about the end of idealism, but as the years passed, I began to understand that when idealism ends, well, that's when things get interesting. After all, you don't need to simply desist when disillusioned. No, you can show up for work anyway, not with earnestness or sentimentality (my grandmother would shudder at that), but with a buoyant sense of the absurd. It's absurd to write another draft of a book that isn't working. It's absurd to protest war after war after war. It's absurd to call our congressional representatives each morning to register our horror at yet another inhumane action of the Trump administration. But there's beauty in this absurdity and plenty of humor, too.

For years, as I kept my grandmother's five sentences in mind, I was angry at myself and everyone else for not figuring out a way to do something unequivocally right. Now I'm keeping her actions in my mind instead. I'm beginning to understand what it means to live with an idealism conjoined with despair, with cynicism. It means you work despite futility. You go to a protest, shout alongside strangers, and come home to read the terrible news. You plot out your new series of mystery novels while dying in a hospital bed. It's easy, I see now, to write five lines of condemnation. We do it on Twitter every day. It's harder to live absurdly, as my grandmother did, to drag the folding table down to Greenwich Village to collect signatures on petitions that will most certainly not remove US death squads from El Salvador, to water the ivy even though one day it, too, will die. We fail and fail. We stand abashed. We are doing something wrong. But look how beautiful we are, as we keep sweeping the darkness back each night, to allow one more day to arrive.

Heather Abel's debut novel, The Optimistic Decade, which is about idealism and disillusionment, is out now from Algonquin. 

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