How to Disappear: Notes on Invisibility in a Time of Transparency

by Akiko Busch
Penguin Press

book review by Christopher Klim

“Exposure is an inevitable by-product of the connectivity so many people today find vital.”

The conundrum of being unseen in a world that lauds and demands visibility is explored in Busch’s thoughtful series of essays. It’s too simplistic to say that some people and things are overexposed, while others create an enigma. An inclusive or disruptive formula arises in all appearances. Through her poignant writing, Busch explores various ways people and things present themselves and achieve new interpretations.

The approaches here are more vast than you might imagine, covering the entire karmic spectrum of body, mind, and spirit, as well select nonhuman elements of the Earth. Busch effortlessly proceeds from her invisible friends of childhood and the concept of self-awareness and existence through the philosophical and psychological aspects of identity across cultures and landscapes. Identity is more than our self-perception. It relies on external factors, such as association, impact, and even where we place our feet on the planet. Ironically, the more we reveal ourselves to the world, the more we lose ourselves, increasing our invisibility in plain sight. For example, this reviewer is an author, at times in the bulls-eye of various public forums by necessity of trade. Most authors are well aware of the game afoot, cloaking themselves for privacy and security yet remaining in-part authentically exposed to the audience.

While there is a fundamental need to shelter our more valuable and vulnerable assets, there simultaneously exists a need to exploit them for advantage, which for some has reached a psychosis stage of “look at me.” Much of this is observed through digital media, although artists have been employing funhouse mirrors and other screening devices for years. For example, Andy Warhol and Bob Dylan simply manufactured their histories and lived forward and still exist through the prism of a celebrated popular view. In a way, we all revise our childhoods wrought sometimes painfully through circumstance in order to thrive by a more self-described version of ourselves in the present. To various degrees, we dream of alternate futures, where we look, feel, and move differently. This commotion roils below the surface and hides within dreams, eclipsed from the naked eye. In effect, everyone’s true self is invisible, sometimes even to our own consciousness.

At times, Busch’s essays read like ruminations, more intent to span the colors of thought through numerous examples rather than land on a singular point. While this method inspires debate, a blurred image is the seed of invisibility: to resist understanding or at least skew perception if not outright manipulate it for effect. It’s all camouflage in the end. We want to be appreciated for who we truly are, yet we offer skins to the world that we think are better suited to preference, success, and survival. In the modern world of endless surveillance and staring, it might be increasingly harder to become unseen, even hold onto ourselves.

RECOMMENDED by the US Review

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Catch, Release

by Adrianne Harun
Johns Hopkins Press

book review by Christopher Klim & the Eric Hoffer Book Award

“It didn’t occur to us then how we carry the terrors of civilization within us.”

With this wonderful collection, Harun has accomplished two rare feats. First, she’s taken the Eric Hoffer Book Award grand prize with a work of adult fiction for the first time in its history. Second, and no less important, she’s delivered a cohesive story collection, when so many today seem hurried and uneven. Instead, Harun appears to be a master of the form. She threads interior monologue, which in longer works can become an endless slog, to reveal superb insight—instead of, well, just too much information.

“It’s all about loss,” the narrator of the title story announces. Flashes of humor balance heartbreak as the author explores tragedy: A wife tries to find her dead husband in the memories of a manipulative crone while her teenage daughter plots to teach her mother that “death can’t be called back.” A mother mourns her embattled relationship with her murdered fourteen-year-old daughter. Young sisters perish of an inherited blood disease, as their brother endures in exacerbation. A middle-aged bachelor struggles with losing his sister and his childhood friend to marriage. Parents wallow in self-absorption, leaving their teenage sons to struggle with maturity on their own. A gifted young African man immigrates to a new reality as a tissue donor to a dying child in London. Each story creates unforgettable impressions and memorable lines in a microcosm illuminated by the beauty and complexity of human emotion.

Overall, this collection is as it should be—deft, deliberate, dashing, delicious, and direct—but again all too rare in the form today. Harun makes sense of both the small and large issues of life through turns of language that at times bring us into confidence and during others refuse entry. It’s a lot like a conversation with someone we badly want to know—plain truths and blind alleys of understanding that require close attention yet an openness to enjoy the moment.

RECOMMENDED by the US Review

Wild Bill: The True Story of the American Frontier’s First Gunfighter

by Tom Clavin
St. Martin’s Press

book review by Christopher Klim

“Their subsequent conversations, gathered in an interview for an article published in Harper’s New Monthly Magazine, would do much to create the Wild Bill Hickok legends that exist to this day. It even contained a few facts.”

Why do legends exist? Perhaps to capture the boldness of a moment in time. Perhaps to whitewash its dirtier element. Or perhaps to underscore the human desire to become bigger than we are. Sometimes a person of unique caliber intersects with the right moment in time and the stories of their adventures take on a life of their own. They transform into an enduring legend.

Wild Bill Hickok is one such legend. Born at the dawn of the great American western expansion, his above average height and looks, as well as his cool demeanor and superior shooting skills, cut the image of a remarkable man. He was the first American gunfighter, or shootist as they were called. He could fire with either hand and punch lead through your heart before you raised your gun very far from its holster.

Spending time as a military scout on the frontier during the Civil War, he learned the ways of wagon trains, cattle drives, and Indians. He knew the front trails and back trails and even served time as a U.S. Marshal, tracking down criminals but mostly military deserters escaping miserable conditions. He loved various women—Calamity Jane being the most famous—and was loved by women, more than he’d know. And of course, he savored the occasional whiskey and a good card game for stakes. It’s the type of life that many a man tries to recapture even today, but the lawlessness and landscape are gone forever. Any man who tries appears like a cheap and cowardly criminal and is quickly extinguished. Hickok himself would be gunned down in the end, because that’s where the tracks run afoul for every man who lives by a pair of six-guns at his side.

Author and historian Clavin brings us through it all. He tells us that Hickok wasn’t exactly the legend we know today, although the famous gunslinger did little to deny the tall stories circulating in his name. Americans wanted to believe in the luster of the great move west. They needed to. The reality of traveling through and settling in the harsh landscape was much different, deadlier even. Still, the tales of Hickok ran close enough to the facts that the man and legend soon became difficult to separate, and in the end, even Hickok passed those stories as his own.

Clavin is not a flowery writer, but engages as storyteller who might keep you rapt around a campfire or across the bar with subtle, wry commentary. With on-point side excursions into western lives, he covers not only Hickok but those tangent to his biography. In doing so, he paints a wider image of perhaps the widest American landscape in history. Well done.

RECOMMENDED by the US Review

Professional Revisions – Level One: The Opening

In this series, editor and author Christopher Klim takes you through a multi-level approach to revising your work. Excerpts taken from Write to Publish: Essentials for the Modern Fiction and Memoir Market.

All fine writing is the result of rewriting. I don’t know who coined that phrase, but it is certainly a fact. The first draft is the art of writing. The revision process exists to recognize mistakes and mop up the mess, and readers never witness the accident. Readers seek the ease of flawlessness.

LEVEL ONE: THE OPENING

The opening is the first scene in a story, albeit a very crucial scene. It introduces the main character, her hopes and desires, and the point of view. Those are story basics, and not until they are known does the story get rolling.

The tricky part about drafting an opening is that this is the time when a writer knows the least about the characters and plot. Most writers agree that it takes roughly 100 pages to understand the main characters. This often invalidates earlier characterizations, and as a result, character desire and behavior seem unfocused or incorrect. Some writers toss out the first 100 pages and start over. That is a drastic measure, although it is common to labor over the first fifty pages and definitely the first twenty-five.

When revising, the opening must be arresting before I proceed. Everything falls out of the first line. Some writers say that the first line gives away the ending. Indeed, the open-ing scene starts the journey, and if it must change, the entire story path might change along with it. Try to get the opening in order before addressing the remaining story. You may return to tweak the prose, but it will be structurally sound before you edit the rest.

Chapter II of Write to Publish covers the important elements of story openings. Below is a checklist for review. The first three items are vital to the success of launching a story.

Introduce the Main Character

Show Predominant Point of View

Reveal the Story Question

Preview the Setting

Create Action

Set the Tone

Shorten the Time Line & Create Order

Christopher Klim is the author of several books including the novel, Idiot!, and the short collection, True Surrealism. He is currently working on a novel trilogy about the space program past, present, and future.

Next: Professional Revisions – Level Two: Structure/Content

Previous: Professional Revisions – The First Look

 

Milk Street: Tuesday Nights

by Christopher Kimball
Little, Brown and Company

book review by Christopher Klim

“…for those raised on classic American cookery, heavily influenced by the cuisines of northern Europe, this is a watershed moment.”

After never having published a cookbook before last year—surprising in its own right—Milk Street stuns us again within a second offering in a year. This time the Kimball gang in Boston focuses on flavorful, modern, and quick recipes for the working class. Except for the perhaps top 1%, we’re all working class, and we’re all hungry after work.

Cleverly organized by fast (45 minutes max), faster (30 minutes max), and fastest (twenty minutes or less), the cookbook is further bolstered by how we think about regular meals: salad plates, one pot meals, and of course dessert. Other sections offers “easy” additions, pizzas, and “roasts and simmer,” which breakdown larger dinner concepts into more approachable efforts.

Kimball hasn’t turned his back on European cooking. He’s taken a tactical approach to preserve the ingredients and recipes that satisfy the weekday requirement for speed and ease, and added a boatload of what was once considered foreign ingredients that probably or should occupy your cabinet. For example, Frittata and Carbonara hit the mark, while Lemon Grass-Coconut Tofu and Turkish Scrambled Eggs join the daily meal ranks. He’s dotting the globe for dinner, sometimes mentioning the person or place that inspired the dish. Who can wait to try the Benne Seed Cookies, featuring black and white sesame seeds and upscale sugar?

Kimball’s motto—there is no such thing as ethnic cooking, just a meal served somewhere else in the world—stands tall within these pages. The range of spices and ingredients span continents, but can be locally found and assembled without much trouble. Often the recipes feature a small handful of ingredients or even just one primary. The ease and simplicity of these meals almost demand that we expand our palates. And if someone doesn’t have great ingredients nearby—a notion to be seriously doubted—an internet connection leads to everything desirable.

To keep us out of the restaurants and takeout joints from Monday to Thursday, cooking during the week needs to be flavorful and simplified for time’s sake. This will depend on a home stocked with contemporary equipment and global spices, oils, etc. It doesn’t take much effort to accomplish this. Kimball’s previous cookbook will help get your kitchen in order, while this latest will satisfy your taste buds every day of the week.

RECOMMENDED by the US Review

Brief Answers to the Big Questions

by Stephen Hawking
Bantam Books

book review by Christopher Klim

“So remember to look up at the stars and not down at your feet. Try to make sense of what you see and wonder about what makes the universe exist.”

Written at the end of his life, although formulated during and published posthumously, the once in a lifetime scientist Stephen Hawking lands serious scientific questions with a philosophical bent. He guides us by the hand through the creation of the universe, the mystery of black holes, and the possibilities of time travel, giving nods to the seminal pioneers of each discovery along the way. And like all the great thinkers, he’s unafraid to tackle the existence of God and the future of mankind on the planet.

The deft way in which Hawking nails down his points is one of his great gifts as a lecturer. For example, he explains why alien sightings are likely a ruse: its secretive nature. It’s a forgone conclusion that a visiting alien species would be superior in knowledge and ability, but the alleged well-meaning aliens are doing a very poor job helping us with future concerns. Conversely, a less than noble alien visitation would be painfully obvious to all. Anyway you position potential alien visits, it’s likely they’d be obvious by now.

When it comes to time travel, Hawking muses that it hasn’t happened. Perhaps Einstein’s limitation that nothing can move faster than light—the theorized condition for moving backward in time—is true, or perhaps man never achieved the ability in the future. Either way, Hawking makes plain, if man could travel back in time, we’d be bumping into time travelers from the future visiting us in present day. Furthermore, it’s human nature to meddle, as time travelers certainly would in our current day and age.

Superior at scientific explanation and pedestrian at philosophy and politics, the answers to the larger, cutting-edge questions of physics, and a few cultural musings, are delivered with aplomb. Hawking’s good heart and humanity shine through and charm the reader. Quantum physics is the central theme, although much of the verbiage if taken slowly will be accessible to the layman. It’s not important that you understand everything, only that you witness one of the century’s great minds at work.

RECOMMENDED by the US Review

The Authority of Book Awards

Most authors, either through their own efforts or those of a PR firm, seek validation and publicity for their books. Recognition by a reputable book award can do both. While many award contests are open to small and independent press authors, the landscape is full of both charlatans and champions. As the Chairman of the Eric Hoffer Book Award for the last decade, I’ve helped develop a set a criteria that has maintained consistency and integrity. This criteria should apply to any book award you are considering. In the spirit of transparency, I’ll apply each of the following questions to the Eric Hoffer Book Award as well.

How many registrants are accepted each year? The number of annual entrants should be available upon request both during and after registration. The overall number relates to public interest in the award. If only a few hundred or less register annually, then the book award is probably not worthy of your consideration. Each year, over one thousand entries register for the Hoffer Award. Our coordinator provides detailed registration information during the year and especially after the final results are tabulated in the spring.

What are the registration fees? This helps determine if the book award exists to help the authors or enrich the host of the award. The Hoffer Award registration fee is kept intentionally low. Some awards charge for every entry combination, which results in hundreds of dollars to fully register a book. For the Hoffer Award, a single category registration exposes your book to all higher level awards. The staff is composed of volunteers, although a small honorarium is given to the category judges. Clearly no one is getting rich for their hours worth of service. The bulk of our budget goes to shipping books around the country for evaluation.

What is the award focus? Many awards focus on certain genres or are known for one genre more than another. A little research should reveal this information. The Hoffer Award was designed to be all-inclusive across eighteen unique categories. Our registration committee ensures that each book reaches the correct judging committee.

What awards are given? Beyond cash prizes, recognition by a reputable award is much more valuable to the success of your book. Some awards honor only a grand prize and a handful of finalists, which means only a small percentage of worthy offerings are being recognized. The Hoffer Award offers a grand cash prize; winners, runners-up, and honorable mentions in eighteen categories; press type distinctions; the First Horizon Award, Montaigne Medal, and da Vinci Eye; and a group of category finalists. From thousands of registrants come over one hundred prizewinners and dozens of finalists. Each author is able to capitalize on these honors in various ways.

Who are the judges? Without clearly stating who the judges are, your book will likely be evaluated by unqualified in-house staff (i.e. inexperienced general readers). The Hoffer Award has over one hundred experienced category readers, who typically include librarians, literary agents, and category professionals. Judges are carefully vetted via resume/CV, references, and an interview with one of our coordinators. Judges are annually graded and rejoined/released based on their individual performance. It is not unusual for a returning judge to receive notes on improvement for the coming award year. To keep judges fresh, they are rotated into different qualified categories whenever possible.

What is the publicity campaign? Try to determine if the award uses traditional or modern campaigns, if any campaign at all. Merely posting results on their website is not a publicity campaign. The Hoffer Award uses a combination of promotional activities via press releases, media coverage, and the Internet. Our partnership with the US Review of Books has been highly beneficial to authors. (More on that later.) We also get honorees and entrants involved via social media to help promote each other. In the future, we are planning more innovative ways of cross-promotion via entrant participation. Some entrants have done very well with only an award nomination.

What is the award reach? The ways in which the award results are viewed and processed aids the success of honorees. The Eric Hoffer Award results are published within the US Review of Books, which is read by over 15,000 subscribers and tens of thousands of monthly visitors and followers. (The US Review reports a significant spike in traffic in the months surrounding the award announcements.) As the Chairman, I have firsthand experience of literary agents and publishers who scout our book award results for new authors and books. In our history, we have twice been asked to suppress the honors for an independent author because a new publisher has purchased the book (in part based on its Hoffer Award honors) and requires time to prepare the new publicity campaign.

How are the books judged? Any book award should offer a window into their evaluation process, otherwise it is a black box and open to doubt. To preserve integrity, the Hoffer Award does not divulge its judges’ names, but it does discuss its process with entrants and in writer’s forums across the country. Our scoring process is a proprietary seven-point system that encompasses the entirety of the book from content through production. Judges must complete scoring sheets and commentary according to schedule. No judge handles more than twenty books during an award year, and no judge works in more than one category. When the initial double-blind scoring is complete, books are promoted for higher level panels that are composed of mutually exclusive judges, although they may contact the initial judges for consultation.

Are they claiming publishing rights? Some book awards claim publishing rights for the book being entered. (Many literary magazines hang by a thread and claim one-time publishing rights of a story for an issue or anthology. That is reasonable, because there is little and often no money to be made.) However, claiming the publishing rights of any entire book or any portion without a significant payment in return is just another way to publish an author’s work for free. If the book award in question loves the book enough to give it honors, it should respect the author enough to offer a proper publishing contract. Each time we field this question from registrants for the Hoffer Award, we advise that the author avoid any operation that claims rights.

If the book award you are entering cannot answer the above questions satisfactorily or avoids answering these questions altogether, consider avoiding that organization. Every one of the Eric Hoffer Award’s correspondences explains our basic mode of operation within our e-mail signature, whether you ask the question or not. Any award you enter should be that transparent and work hard to promote your book.

Christopher Klim is the author of several books including and the novel, Idiot!, and the short collection, True Surrealism. He is currently working on a novel trilogy about the space program past, present, and future.