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dear-petrov-cover-1I hesitate to call Susan Tepper’s dear Petrov (Pure Slush Books) a novel; if anything it reaches closest to that magical, ethereal and mysterious realm we call poetry, though I also hesitate to call the sixty-four connected, half-page pieces poems, for taken altogether, they construct a beautiful whole that can very well be a novel. And yet…I hesitate…yes, now I’m repeating, having thoroughly locked myself into a savagely incoherent loop. This is so mostly because this book defies a label, and any fool (like this one) who undertakes the futile task of reviewing Tepper’s offering will be left verbally challenged—doomed to spin his wheels in perpetuity, trapped in a circle of babbling nonsense as witnessed above. The closest we can come to pegging down dear Petrov is “a work of art.”

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Answers to Interview Questions about The Unfinished World,

Taken from Yelp Reviews of Famous Museums around the World

 

Why should people read your book?

“It’s pretty interesting and is not a long-winded affair…Many people enjoy lunch here and it’s open to the public. Truly amazing and massive collection of mammals, historic artifacts, dinosaurs, etc… Dedicated to both ecclesiastical and secular topics.”

 

How long did it take you to write the book?

“After I got my ticket, I didn’t waste much time, started to explore. I could have spent weeks here. But I got it done in a day, though we rushed through a lot of it.”

51IKDORqGrL._SX332_BO1,204,203,200_Curiosity #84: Aztec volcanic rock sculpture, circa fifteenth century A.D., probably made for the temple of Tenochtitlan. An example of a traditional demon princess, or Cihuateteo, who escorts the sun from the underworld each morning, she wears a simple skirt, breasts bared, hair long and over her shoulders.

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The truth about Set is the truth about all ghosts: there is a weightlessness that keeps them fluttering, light as leaves—and in turn they are drawn down to instability, to the volatile, to cracks that open and can split whole mountains. To the volcanoes. Specifically, in Set’s case, to Lana Volcana.

That wasn’t her real name, of course, or even her screen name. But it was what they all called her after her breakout picture, Vera and the Volcano—a two-reeler about an island girl that sent her star up and up. LANA VOLCANA! the picture magazines screeched, with accompanying photographs of a dark-haired vamp in a grass skirt and clamshell top. The IT GIRL, the papers called her, a new kind of girl for these daring times. Filmstar Rag said she was the girl you don’t bring home to mama.

poetry insurance for TNB

Rachel Cantor - high-res - photo credit Bennett BeckensteinWhat’s your book about?

It’s about Shira, a translator who doesn’t translate because she doesn’t quite believe that it’s possible to bring words from one language to another. Instead, she temps as a filing clerk and dogsbody, usually in the boroughs. When she gets a call from Romei, a Nobel Prize-winning poet who asks her to translate his latest work, she’s stunned. He offers a plausible explanation for his choice, she agrees, and ecstatically envisions new life for herself and seven-year-old daughter Andi. But as Romei begins faxing her sections of his work, we, and eventually she, begin to realize that Romei has another agenda, one that involves Shira personally.

 

Sounds like you’ve kind of memorized that pitch.

I have, rather.

Good on Paper 300dpiPronto! Pronto! Hello!

A man with a Hollywood pizza-guy accent introduced himself.

It was Romei, or so he said in a passable imitation of Romei’s voice, known to me and everyone in America from his cameo on Seinfeld, where he played a poet who may or may not have stolen Jerry’s cigar (allowing Romei to say,Sometimes a cigar is just a cigar).

Do you know what time it is? I asked blearily, though in fact it was only seven.

You are Shira Greene, yes? The translator? This is Romei!

I swear he said it with a flourish.

Your joke isn’t funny, whoever you are. Go away, I said, and hung up the phone.

He called again.

saturn devouring his son

There are seventy-nine minutes left in the day. I am clinging to consciousness as I write, half drunk, half sleepy. At least it’s almost over, my birthday that is. I didn’t have an official cake, so let this be the proverbial frosting, the telling of my forty-first birthday. I’ll tell it in one long unedited inhalation, the opposite of blowing out candles, that morbid ritual of extinguishing light with one’s breath, but not before making a final wish, followed by a gasp, and then an emptying of your lungs resulting in darkness. Blowing out birthday candles (tiny flames symbolizing each year of your even tinier existence) is a metaphor for death, right up there with a raven shitting on the Grim Reaper’s hoodie. There’s some luck in that, just as there’s luck in surviving another year. There’s also humor, but mostly the kind that laughs at you, which is fine by me. I have zero delusions of grandeur. I entered the world hysterical and naked, and I intend on dying like that too.

Wil Gibson by Vanessa Vrtiak

 

You have a book out with Great Weather for MEDIA, tell me about it.

I am very proud of this book. It is a memoir of sorts. Mostly stories and poems about my childhood and growing up poor, but also stories and poems about my life into adulthood. Dealing with addiction, dealing with epilepsy, dealing with the death of loved ones, remembering the path that got me here. Really though, I say fuck a lot and I try not to say too many dumb things.

When we were barely still children,
city limit signs sealed our fate.
We saw our town as either stable or irreversible.
No one ever told us those words could be synonyms.

When chemicals became solutions,
we never saw the way out.
We fucked like teenagers
because we were teenagers.
We bought and sold pot through
drive-thru windows, got into fights
behind the bowling alley, and
drove in circles around town.
There was always a broken heart
to soothe, more often than not
your own.

ReeserHeadshot2016I was returning the sweater because it didn’t fit. I’d bought it yesterday, this tiny scrap of cobalt with flat silver buttons. It was called “The Sarah Cardigan,” and since that’s my name, I’d felt it made sense. In the boutique’s mirror, it had wrapped my arms like a hug. The buttons rested close to my frame, which was slight from a nervous summer of eating mostly toast and avocado and anticipating the move. But this morning, in our half-packed apartment, in the slanting light of the bathroom, it looked clingy, pathetic, too small. What was I, a teenager trying to show off my new little breasts? An insubstantial person, just following her boyfriend to a city with seasons? I was restless, spinning. Daniel had been out gathering abandoned boxes a few blocks away, so I’d just slipped into my car with the sweater and left.

DZ photoWhy this title: The Amado Women?

I thought it fairly well signaled that this would be a novel about the lives of women; their lives are complex and contradictory. Amado, Spanish for beloved, is the family surname. I love that wonderful undertone because all four main characters are beloved, they just may not realize it. Also, as a Zamorano I have gone through life at the tail end of the alphabet, and I wanted to shake things up a bit.

 

Not a lot of guys make the cut in this book. You got a thing against men?

Nope, not at all. I just wanted to make women’s lives the centerpiece.

Amado OrigOf all people, Mercy Amado (nació Fuerte) should know that happiness is a decision. You simply cast aside that which you are tired of looking at, weary of battling, unable to accept, and focus on that which remains. She had to have learned something during the span of her lifetime, with its marital therapy, grief counseling, past life-regression, born-again Christianity, flirtation with Buddhism, Judaism, Catholicism and atheism. Sixty years. When did you figure it all out? When did you understand the world? When did God take you by the hand and explain it all to you, elaborating that you were indeed His child—special, gifted, divine—and apologize for the mess along the way?

So there are balmy days on the surface of Mars and I look up and it’s still
wtf are you still here? And about to drop into the rooftop pool

with your horses, those unwinning twins. I need to find my way home
and draw the roof over my head, I’m shivering under the palms

because it’s like wtf? Apparently we’re all good
educated people who can situate an ironic distance between the hierarchy of gods,

men, and horses, and the DJs who spin poolside. But then again once
in a while I get into looking into my phone and it’s like, honey

used as a preservative? The spines along the inside of a skull?
“Decomposing without pomp, it suffers our sidelong nosegay.” Roadkill.

Jessica Chiarella_Photo Credit Shane CollinsSo, from the description, your book is about a group of people who get new bodies in order to cure terminal illnesses…

Yes, they’re in a pilot program called SUBlife that transfers their memories into cloned versions of their old bodies. They wake up with a body that’s theirs, it just doesn’t have any of the environmental damage their old bodies had. No scars, no wrinkles, no tattoos, none of the little traits that they’re used to in their daily lives. And the impact of that loss turns out to be rather severe.

 

You mean, this turns out not to be a good thing?

It’s a very good thing, because it does save their lives. Everything works the way it’s supposed to, medically speaking. They’re completely cured. Except the emotional impact of losing so much of their physical identities begins to weigh on the members of the pilot program when they try to renter their old lives. So it’s not the miracle that it seems to be.

9781501116100Hannah

It is certainly strange, to live the first few weeks in my new body. Perhaps the strangest part is how inconsequential the change feels sometimes. Not dying, no longer being in pain, these differences are so startling and so complete that it’s easy to forget that I was ever sick to begin with. There is no scarring, no residual damage, no daily reminder of the months I spent being mutilated by tubes and wires and needles. I have a full, thick head of hair. And I’m no longer as frail as I was in the beginning; slender stretches of muscle begin to form under the skin of my arms and legs. I look like I’m closer to running a marathon than dying of anything.

There are other things, too. Little things. My hearing is pin sharp, instead of muted by my years of rock concerts and riding on Jake Mariano’s motorcycle as a teenager and the clattering din of taking the Red Line. The little aches and pains I used to carry with me—waking up with a stiff neck, cracking the ankle I sprained playing soccer as a kid, the enduring tightness in my hips and the backs of my thighs from painting for hours on end—are gone. They are removed so thoroughly that I can’t remember exactly what they felt like. Any and all excess fat has been spirited from under my skin, leaving a thin, supple sort of body it its wake. The dimpling in my thighs and the small crevices of stretch marks in my sides, the handful of scars I’d amassed in my twenty-seven years, all have been replaced by tight, flat skin. It’s a body so perfect it is difficult to inhabit sometimes, because it’s difficult to imagine it’s really mine.