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Turn Over A New Leaf Pell-Mell

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Alison Alexandra sometimes thinks of turning over a new leaf. Sometimes at the most traditional of times, like at New Year or her birthday or under a full moon or when the tide is at its highest. But then she remembers that well into her pre-teen years she thought the expression to turn over a new leaf meant reaching into the branches of a tree and flipping her wrist (somewhat like Amanda does when cutting cards) and when she found out the flip flip flipping concerned paper pages she was so bored she never did it. No, not once.

And anyway, why would she overturn anything in some sort of orderly fashion when she pell-mell turns things over at the very time they seem that they need to be overturned and not a minute or an hour or a full moon or one leaf later. That now is indeed now is, indeed, now and as she daily finds out from her windows or cliffs overlooking the ocean; tide and time await no Alison Alexandra. So she will not wait for them.

Alison Alexandra has often thought – and she also often thinks – that she could happily turn over all her leaves just from her prow-of-a-ship room jutting into the sea or the cliffs that, as yet, do not erode under her feet as she walks them looking out to sea. But that would be unwise and probably as stagnant as a rotting fish that sometimes lodges itself at the base of her cliff and though she has not travelled as often as those sailors and their spyglasses, she has travelled as far as many of them just to keep those leaves flip flip flipping.

So, today she is going to walk to town.

[Image} https://www.telllaurailovecrochet.co.uk/wp-content/uploads/2016/01/turn-over-a-new-leaf-2-520×400.jpg

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Who Gets The Bottle Of Wine At The High School Reunion?

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I am putting my hand-written manuscript, There Was A Time, Oh, Pilgrim, When The Stones Were Not So Smooth, into the computer. I was coming to the end of my main character’s (Alison Alexandra) high school reunion.

When I type I aim, at the end of day, to be at the end of one of my hand-written pages.

The folk at the table where Alison Alexandra sat, had all trooped up to get the buffet food. When they returned, there was a bottle of wine on the table, with a bow tied around it,  And a card. I was at the bottom of a page.

But I wanted to know who got the wine. So onward I typed.

I’m guessing (hoping)  if it interests me so much to know who got the wine, the reader will give a “Hoot! Hoot! (as did the folk at the table) when the card is read.

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When they reach the food tables, there is not the curiosity from others concerning who is who. Most are intent about filling plates and returning to their tables.

Everyone at their table is getting steak except for Betty, who has opted for the salmon. She also opts to carry Allan’s plate as she sends him on to the bar to get another round of drinks. She looks at Ed and Lee.

“Are you two satisfied with tea and coffee?  Those drinks they are going to bring to the table, carried by sadly inexperienced students.”

“That’s fine with us,” says Lee. “And we can always snag some bottled water.”

Plate in hand they return to their table. In their absence a plate of rolls and butter has been deposited in the middle. There is also a bottle of red wine, with a bow and a note attached.

“Well, well,” says Betty, wanting to immediately open the unaddressed envelope. “I’ve never seen the like of this.”

“A modest but decent bottle,” says Alison Alexandra.

“Maybe you have a secret admirer,” says Betty.

“Maybe you do,” says Alison Alexandra.

Betty Dragger is taken by surprise at the idea and snorts. She then sees Big Stakes Gamble approaching, and clears some space for the drinks he is carrying. He is fast at a sip of his beer before he speaks.

“Who got the wine?”

“We don’t know,” says Betty.

“Then someone should open the card.” He picks up the bottle and hands it to Ed.  “And that sounds like a job for an officer of the law.”

Ed is not sure if a joke is being played, and if it is being played on him. He is as curious as not, so he takes the knife beside his plate and slits open the envelope. He reads the card and laughs.

(Image)https://static.vecteezy.com/system/resources/previews/000/000/624/non_2x/red-wine-bottle-vector.jpg

The Naked Man Roller Skates To The Flatiron Building In New York

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After decades, Macmillan, the publisher that produced my two novels, has left the Flatiron Building in New York. I am surprised that this news causes such a pang. But then, those days were exciting and unique

The first description following, is my blog where I describe my first meeting with my editor. During my first trip to New York. Where I first entered the Flatiron Building

The second article is by an editor at Macmillan, describing what it was like to leave the Flatiron Building and move elsewhere.

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My friend Google tells me that “over the transom” is still a viable term. In this case it refers to a manuscript accepted by an editor submitted cold – perhaps even from the dreaded slush pile.

At any rate, my manuscript for A LOST TALE was accepted “over the transom”, and I was asked to New York to meet the editor. Although I had experienced and appreciated Montréal,
Toronto, London, Berlin and other large cities by that time, I had not been to New York. Many events of that trip are memorable, but none more than my “lunch” with the editor.

The editor took me to some dark and trendy place for a late lunch. There were not many people there and, restaurant fiend though I am, the food was not my top priority. Discussion of “the work” and proposed changes was more on the menu for me.

However, as I sit across the table from my editor, I can not help but notice a man seated by himself beside the wall. He is tieless and shirtless and, though the lighting is dim, what there is reflects from his naked skin. He sits with a beverage and seems to hum to himself. My editor is discussing both the menu and some confusion he perceives at the beginning of my novel. I note items on the menu unknown to me and am doubly confused.

The shirtless man at the other table increases the volume of his humming and eventually a waiter goes to him and has words. The shirtless man has words back, but they sound like gibberish. At my table the editor suggests something from the menu and I happily comply. There is wine.

Whilst I eat and listen to suggestions, the shirtless man is spoken to by two other waiters. As I (wisely) restrict myself to a second glass of wine, two uniformed policemen enter the restaurant and approach the shirtless man, whose gibberish had increased even more in volume. In the course of a few minutes three other uniformed police officers – one of them female  – arrive on the scene. They are now ranged around the shirtless man and his table. I finally tell my editor what is happening behind him and why I am not concentrating fully upon his suggestions. He turns around.

Two of the officers remove the table from in front of the shirtless man. Two others, one on each side of him, haul him to his feet. It is then that we see his shirtless state continues all the way to his naked feet. The female officer takes the tablecloth from the table and drapes it around him. The four male officers form a circle around the naked, shrouded man uttering his gibberish, and hustle him from the restaurant. The female officer picks up what appears to be a pile of clothes from beneath the table, and a pair of roller skates, and follows them.

I say to my editor that I have never seen anything like that.

My editor concurs.

[Image]https://untappedcities-wpengine.netdna-ssl.com/wp-content/uploads/2015/03/featured-flatiron-buildingknyc-untapped-cities1-1.jpg

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Bidding Farewell to the Flatiron Building

Kat Brzozowski, in a photo taken from CEO John Sargent’s office on the Flatiron’s 19th floor.

Today’s the first day that Mac Kids is in our new home at 120 Broadway. We spent the past few weeks packing our work belongings in orange crates, preparing to settle into the Equitable Building in the Financial District, trading our beloved triangle for an H-shaped office (because what would Macmillan be without an unusual layout?). I still remember arriving at the Flatiron Building for my first day 10 years ago. I looked up at the building in awe, thinking, “I can’t believe I get to work there.”

Walking through the Flatiron Building was like traveling through a science museum that showcases different ecosystems—the rainforest, the desert, the tundra. In your office on the 7th floor, you’d be stripped down to a tank top, sweating, with the AC blasting even though it was full-on snowing outside. But travel to the 10th floor conference room, and you’d be covered head to toe, wrapped up in an actual blanket, shivering.

The bathrooms alternated by floor—men on even, women on odd—and we all knew which bathrooms to avoid (the ones so small you’d be bumping elbows with your boss on the way out), and the ones that a friend called “destination bathrooms” (11, with its large waiting area; 19, with a gorgeous view of the city). Those bathrooms were worth the elevator ride. And who knows, while you were waiting—which could take a while—you might run into Jill Biden, or Tyra Banks, or Jim Carrey.

At my first job at Macmillan, at Thomas Dunne Books, I worked on the 17th floor in a sectioned-off area we called “the annex,” but which I thought of as Narnia. No one could ever find me, because my desk was accessed through a door that not every floor had. Yes, every floor was different, giving the building a funhouse feeling as you wove left and right, searching for the conference room or the kitchen anew with each floor.

And each company felt as unique and as special as its floor plan. Mac Kids, where I work now, was a wonderland, with framed art crowding the walls, brightly colored board books packed onto shelves next to classics, and a sparkling energy fueled by employees whose early lives were shaped by books. Walk by one office and you may spy a menagerie of life-size zoo animals, painted freehand by a famous illustrator. Where else but the Flatiron can an artist paint on the walls?

There’s no experience similar to working in the Flatiron Building. We’d bemoan the lack of conference rooms, then brag to our friends that we got to work in that building. We’d complain about the fact that we needed our key cards to get from one side of the floor to the other, then we’d pour out of the doors at lunchtime to get burgers at Shake Shack, or a BLT at Eisenberg’s, or a flat white at Birch Coffee, a plethora of delicious (and affordable) options spread out in front of us like a glorified mall food court. We’d tell our authors, “Don’t get your hopes up, it’s not that nice inside,” then see their eyes light up as they took out their phones to snap a shot from the point office, with views that stretched all the way to Times Square, with the Empire State Building and the Chrysler Building so close you felt you could reach out and touch them.

That feeling I had on my first day in 2009 hasn’t gone away. I’ve felt it again and again over the past 10 years, the magic of seeing something from a postcard come to life in front of me. Farewell, Flatiron Building. You’re leaving a triangle-shaped hole in our hearts.

Kat Brzozowski is senior editor at Swoon Reads/Feiwel & Friends.

https://www.publishersweekly.com/pw/by-topic/childrens/childrens-industry-news/article/80191-bidding-farewell-to-the-flatiron-building.html

Author Reads An Elephant His Rights

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Tracked down to my apartment, I give a sample reading from my book of short stories, The Elephant Talks To God. And I explain the genesis of the book. Gotta say, it might have been more entertaining to emote some of the Elephant’s poetry.

http://www.authorsaloud.com/prose/estey.html

From The Elephant Talks To God:

The elephant was a curious pachyderm, and followed his persistent quest with a guileless intensity.

“More lucky than smart,” said some of the other elephants, as he blundered his way toward another piece of knowledge. They nodded their heads in his direction with the heavy weight of caution, and warned their small ones that too much thought would make them strange.

“An elephant wades in water,” they would sagely say, “only if the mud hole is wide enough.”

And the little ones would watch him, as they stood between the legs of their parents, and wish that they could follow.

Available at:

Because Of Shakespeare And His Influence On Books

The stage is as bare as my lady’s ass in his lordship’s bedchamber.

Rough-hewn in the most knockabout way, leaving splinters in the palace lawns of the imagination. There’s many a dip ‘twixt the trap and the lip.

It fares little better than hastily strewn boards covering parched ground, and barely enough elevation to keep the understanding masses at bay.

Were one fool enough to come from out the wings, and at centre front begin a soliloquy about the beauty of the wretched arena on which he stands, to fight the resulting and justified spontaneous combustion, there would not be found one drop of piss from any a Thespian’s hose.

For who could allow this sacrilege to be spoken? Even the flag atop the pole knows that the magic is not yet arrived.

A stage without commercial trappings:

without solid doors and thick drapes,

uncluttered by pillars,

and arches,

tables and chairs,

windows and fireplaces;

sans orchestra, sans balcony, sans pit.

A stage revealing all its secrets.

Profound as emptiness.

A stage in wait.

For in this world writ small (as in the globe around)

the audience

has nothing to know/ nothing to learn,

until the actor makes an entrance and prepares

to fight through our eyes and ears

to battle with those thoughts and fears

that lurk in sheltered halls.

What’s Hecuba to him?

Why – nothing.

Merely a name on a page of script,

A cue at which to turn his profile thus.

 

It is what Hecuba becomes to we who wait,

That turns the key upon the heavy gate.

Some Minutes In Kafka’s World

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A couple of days ago, I wrote about finding a particular (and peculiar) edition of Kafka’s book, The Metamorphosis, in a bookstore. I went back yesterday to have another look. This is what happened.

Having seen this plain cover, hardback “The Metamorphosis”, I wanted to take another look, and track down the publisher. There had been ten or so copies left, and I assumed there would be no trouble in doing this.

However, when I started to search on the SALE table where I had seen it, there were none present. Odd enough in itself, but now, on the same table, there were a dozen different copies of ‘“The Metamorphosis”, still hardback but with a dust jacket. There was an image of Kafka (or, at least, a form all in black) modeled on one of the extant photos of him. There was also text: “What on earth has happened to me?” Across the top was the word METAMORPHOSIS and across the bottom was FRANZ KAFKA. The colour of the dust jacket was a blue/green.

I might – on the very outside of possibilities – had thought that all the copies I had seen previously would have been gone … but, I never envisioned a new set of different copies of the book.

I queries a clerk (who had not been present the previous day) about those other copies of Kafka.  All he could say was that the displays in the store had been changed the day before.

Yes, I even did go to look on the shelves (in addition to the display tables), to see if the plain Metamorphoses might be there. It was not. Nor any other books by Kafka, neither.

So, I wandered in my own version of Kafkaland for a few minutes, before I departed. And – of course – I was left thinking: had the original, plain books have their own metamorphosis into the new.

(image)http://cdn.shopify.com/s/files/1/0380/6785/products/TOTE-1021_franz-kafka_Totes_1_760x1000.jpg?v=1540350870

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(Original cover of The Metamorphoses)

Well … perhaps not the book. Most of what Kafka wrote was not published in his lifetime. Of course, most of what Kafka wrote did not survive his lifetime. It is estimated that be burned 60%-75% of all that he actually wrote.

But, one of the books he did have published was The Metamorphosis. He took such an interest in it that he made special requests about the cover art. He wished that the vermin into which Gregor Samsa turned, not be depicted on the cover. He was adamant about it.  His wish has not been kept over the decades, but there isn’t much you can do once you are dead.

This came to mind when, yesterday, I passed a book store offering various discounts and bargains. Three books for $16 – that sort of thing. And, a vast array of books, from Tom Sawyer to contemporary thrillers to scientific non-fiction.

But, on a prominent corner shelf, was a stack of Kafka’s The Metamorphosis. Hardback. Published last year in Britain. Going for $15. A plain, brown cover with no book jacket. Author and Title. That was it.

And, the thing is, I was tempted to buy it.

I imagine I have read the story ten to a dozen times. Over the years I have had three or four copies.  I am slowly divesting myself of more and more possessions. Yet, I gave it a good look-over. Clean pages. Easy to read. No cramped text. No illustrations.

It would have made Kafka proud.

 

Book And Lyrics By Franz Kafka

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(Original cover of The Metamorphoses)

Well … perhaps not the book. Most of what Kafka wrote was not published in his lifetime. Of course, most of what Kafka wrote did not survive his lifetime. It is estimated that be burned 60%-75% of all that he actually wrote.

But, one of the books he did have published was The Metamorphosis. He took such an interest in it that he made special requests about the cover art. He wished that the vermin into which Gregor Samsa turned, not be depicted on the cover. He was adamant about it.  His wish has not been kept over the decades, but there isn’t much you can do once you are dead.

This came to mind when, yesterday, I passed a book store offering various discounts and bargains. Three books for $16 – that sort of thing. And, a vast array of books, from Tom Sawyer to contemporary thrillers to scientific non-fiction.

But, on a prominent corner shelf, was a stack of Kafka’s The Metamorphosis. Hardback. Published last year in Britain. Going for $15. A plain, brown cover with no book jacket. Author and Title. That was it.

And, the thing is, I was tempted to buy it.

I imagine I have read the story ten to a dozen times. Over the years I have had three or four copies.  I am slowly divesting myself of more and more possessions. Yet, I gave it a good look-over. Clean pages. Easy to read. No cramped text. No illustrations.

It would have made Kafka proud.

 

April Fool’s Joke (Except It’s True)

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I glean through many sources (some of them disparate) after information of which agents and which editors have purchased recent books that are similar to one of my manuscripts.
When I find someone I think will be compatible to some of my work, I research them. Then, if I think they would have a reasonable interest in my manuscript (and there can be a variety of reasons) I’ll send a query letter.
I prefer to go through this process of finding names a number of times in a row, instead of finding a compatible person, then immediately sending a query. So, when I find a person I plan to contact, I send this information to myself in an email. It can be weeks before I actually send a query to an agent or editor, and then it can be two or more months before I hear a reply.
Last week I came across the information that John le Carré has a new book coming out the end of this year. I adore John le Carré. This announcement unusually named both his agent and editor. I sent both to myself, and I imagine I would get to them in the next two or three weeks.
This morning, April 1st, I had notification of a rejection by an agent for my NATO Thriller. It was a refusal sent through the portal of the agency (which happens more and more). Since it was not an actual response by the agent, I had to go to my Sent file to see who I had sent the query to.
Uh-huh – it was the same agent as John le Carré. So, I actually got rejected before I sent the query.
Well – anyway – that’s how writers think.
(image)cdn.images.express.co.uk/img/dynamic/39/750×445/851150.jpg

Kafka In His Writer’s Burrow For World Book Day

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A burrow offers security and comfort, and Kafka found both in his sister’s tiny house on the Golden Lane.

Ottla – his sister – had rented it so she could spend time with her lover and not be bothered by parents and comments. Her lover was a Christian and ready to go to war. Time was precious.

However, she rarely had opportunities other than the weekends, so she offered Franz the use of the tiny house for most of that time. And use it he did, though he never stayed the night.

Through fall, winter and spring Kafka wrote a whole book of short stories. For one single block of time, it was one of his most creative periods.

When I visited, even under Communist rule, it had been converted to a book store. Of course (which he would have appreciated) there were no books by Kafka for sale. Today he is displayed in the windows.

It was only when I went thorough the small rooms, and looked out the window into The Stag Moat, that I realized how important the house would become in my novel about Kafka. It was cozy – even with the space cramped by tourists. It had been little altered and I easily imagined Kafka looking through the same glass and walking through the same doorways. No doubt stooping because he was tall. Research met reality.

One of the last stories Kafka wrote, during his final year in Berlin, was called The Burrow. A version exists and is published, though a longer version is supposed to be among his ‘missing’ papers.

In it, a tiny animal keeps incessantly burrowing to keep away from an enemy. A vague noise convinces the animal to burrow deeper, and deeper, and deeper.

Something Kafka himself attempted to do.

(image)https://i.pinimg.com/736x/87/34/8a/87348a86cd918068ad4e09c1b813c3cf.jpg

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