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Have we met before?

I’ve seen you around.

 

What’s it feel like to see pictures of your book in people’s social media feeds?

Like the first mug of coffee of the day.

 

What was it like to work with Michael J. Seidlinger and Civil Coping Mechanisms? I heard that dude never sleeps.

He doesn’t sleep, he hires people to sleep for him and siphons the resting molecules from their cloud accounts to recharge himself. Working with CCM was a dream. Great people, great work, great press. From the moment we came together to do the book, I felt safe and honored and like I was working with a press that understood what I was trying to do and gave me the room to do it.

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So you found out you’re really Brazilian?

Not exactly. Brazil is where the book’s central character disappeared, and where I went to understand why.

 

Every family has its dirty laundry. Why was it necessary to write about yours?

Some of the most personal passages were the last to be added. The writing brought me there, and they were integral to the story. In some ways, they were the story, explaining (to myself and others) why I was so driven to investigate the disappearance of the man who raised my father. While there are some unflattering aspects of family members on display, I don’t believe any of it is gratuitous. Patti Smith and Philip Schultz were two of my guides: their beautiful memoirs are revealing and discreet at the same time. Ultimately, I hope that my message will help others to communicate better within their families. In the short term, truth can seem like the more difficult choice, but my story shows that secrets can have far worse consequences for generations.  

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This self- interview is answered by voices from the anthology Life is Short—Art is Shorter by David Shields and Elizabeth Cooperman.

 

How would you describe the brief selections in this book?

“ …ticks engorged like grapes” (Amy Hempel, “Weekend”)

 

What were you thinking about when you put this collection together?

“I was thinking about my body’s small, precise, limited, hungry movement forward…” (Wayne Koestenbaum, “My 1980s”)

 

You have said that Brevity personified came to you in a dream many years ago?

“His hands moved in spasms of mathematical complexity at invisible speed.” (Leonard Michaels, “In the Fifties”)

IMG_0011What was it like the first time you heard My Aim Is True?

Hearing My Aim Is True for the first time was one of those aha moments for me that changed everything. From the opening chord of “Welcome to the Working Week,” I knew this record was something special. By the time I got to track four, “Blame It on Cain,” I knew I never had to listen to Pablo Cruise or REO Speedwagon ever again. Someone out there was making music that spoke to me and it hit me like a punch in the gut. I heard the snarl in Elvis’s voice, the cynicism dripping off every line and for me that was the noise that art made. It was liberation from my small town.

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So what, exactly, does “BodyHome” mean?

BodyHome means that our bodies are a type of home—that safe space we return to again and again in order to know who we are and who we have been. I’ve moved around a lot in my life and don’t have a “childhood home” to return to, so I look for my home in my body. It’s like if you can feel at home in your body, then you can feel at home wherever you are. Also, in the same way that an actual house can hold all of those memories, the body’s doing that, too. Right now. You’re breathing and it’s moving and when things happen to you—good or bad—your body will remember them and eventually start to talk about the memories through movements and gestures. In my writing, I’m always questioning “Where is the body in this essay?” It’s like our bodies are a great foundation and structure for spiritual and narrative growth—even if we’re just a little weed pushing itself up between a crack in a sidewalk in order to get some necessary sun, we’re keeping at it. Also, fun metaphors/comparisons: skeleton (of body, of house—our structure), insulation (does that word make me look fat?), plumbing (I almost pissed myself!).  

Andy Burns Headshot - cred Moment CommunicationsSo, you’ve written your first book. Is it a dream come true?

Um, sort of. I actually hadn’t dreamt of putting out a book for years. Back in my university years, when I was doing my undergrad in English and Creative Writing, creating a novel or short story collection was pretty high up on the priority list. But time and ambition changed my thoughts on pursuing that avenue. I’m an impatient person, so the whole process of sending out short stories for potential publication and waiting to hear back was just not in my make-up. Had two of the ladies from ECW Press not suggested I make a pitch for their Pop Classics line, I don’t think I ever would have considered it. I’m so thrilled it worked out, though. There’s something pretty damn surreal about holding a book with your name on it.

IMG_2891What do you mean by the Age of Consequences?

We live in what sustainability pioneer Wes Jackson calls “the most important moment in human history.” The various challenges confronting us are like a bright warning light in the dashboard of a speeding vehicle called Civilization, accompanied by an insistent and annoying buzzing sound, requiring immediate attention. I call this moment the Age of Consequences—a time when the worrying consequences of our hard partying over the past sixty years have begun to bite, raising difficult and anguished questions.

3SezwIbx_400x400Can you explain the significance of the title of your new book, The Good Luck Cat?

My cat, Ting—the subject of my book—is a Korat. They’re the “good luck cat” of Thailand. So there’s that. But, as the book goes on and bad things happen, the term becomes ironic…until, at the end, it comes to represent all the good fortune that comes from loving and being loved.

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Your book is about the many birds who live with you—they seem to be in every corner of your house. How does that affect your writing?

Well, it is sometimes strange to have animals talking to me when I’m working. But they can be helpful. For example, our African gray parrot, Mia Bird, often sits in my office and commands me to “Focus! Focus!” as I write. That usually does the trick if I start drifting off. One time, a rainbow lorikeet named Harli was quarantined for a few weeks in my office—we separate and observe new birds before introducing them to the flock. As I worked, Harli would settle on my head and groom me, kindly plucking a hair or two along the way. By the time her quarantine period was over, I had a small, perfectly shaped oval of bare scalp on the top of my head. Still, I did get a lot of writing done during those few weeks.

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So, you wrote about the dead guy again.

You mean my best friend who died five years ago in a mountain climbing accident nearly ten years to the day after he’d been mauled by a grizzly in Yellowstone Park? Yes, I did write about him again. The book is called Altitude Sickness.

 

Why?

Well, we were best friends for over two decades and, like I say in the book, we got together and broke up more times than the earth has rotated the sun, so I’d say his sudden death at the age of forty-two was fairly earth-shattering. We loved each other deeply and his death nearly destroyed me. And I’ve been a writer most of my professional life, so it’s kind of hard to bypass all this.

justin_martin_photoSo you’ve written the first book ever about Pfaff’s saloon. Why didn’t somebody write this book earlier?

It’s a daunting challenge, research-wise. My subjects were a group of wild, decadent, and very talented artists, properly considered America’s first Bohemians. During the 1850s, they hung out at Pfaff’s saloon in New York City. They lived loose, unconventional lives, which makes them rich subjects. But they lived those lives 150 years ago. It required a ton of research, but it was also truly rewarding to bring this mostly forgotten but vitally important artists circle back to life. I often felt like a time-traveling cat herder.

Erin Marie Daly-26Researching and writing about drug addiction and personal loss sounds not only challenging, but very depressing. What kept you going as you were developing the book?

Guilt. When my brother died, I was shell-shocked. I felt a strong sense that I had failed him. Pat was 10 years younger than me, and our dad was sick with cancer for most of Pat’s life (he died when I was 19 and Pat was nine), so I spent a lot of time babysitting Pat when we were younger, and there was a maternal aspect to our relationship. But I also tried to foster openness and honesty between us, which is why I didn’t understand the secrecy of his addiction. Hiding is a part of addiction; no one wants those who love them to know the depths of their darkness. I didn’t know that at the time, so I felt that Pat was either making stupid choices or actively trying to hurt me—sometimes both. And because of that misperception, I was angry with him. I had no experience with addiction and I certainly didn’t know about the link between painkillers and heroin. I ended up saying things to him like “just stop doing drugs,” as if it were something he was doing for fun. He wasn’t. His downfall was hard and fast, and shocking in the context of our family. Of course we’d had tragedy with the loss of our dad, we weren’t perfect, but we loved each other and lived in a great community where this type of thing didn’t happen.

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Let’s get this out of the way first. You make it clear that you love music, especially Dave Matthews and Tori Amos. Tell me about that.

It’s that obvious? Good! Actually we had to cut an awful lot of the lyrics I wanted to use from the manuscript because of copyright laws, so what remained is the toned-down version. Music and lyrics have always wiggled their way into my conscious and unconscious mind, so writing a memoir without them as a backdrop didn’t feel genuine. I also hold out hope that Dave or Tori will hear about my book and call me up on stage with a spotlight shining into the audience or something crazy like that. I haven’t evolved past 8th grade with my sappy groupie fantasies.

Author Photo linocutSo, you just weathered a really difficult Upper Michigan winter. I mean, the icebergs just melted in Lake Superior, and all these eager bastards are swimming in it already. What did you do to inaugurate the summertime, symbolically or otherwise?

I drank from the hose.

meryl-gordonHow did you pick the topics for your two books, Mrs. Astor Regrets, about the final years of Brooke Astor, and The Phantom of Fifth Avenue, a biography of Huguette Clark?

The ideas came straight from the headlines. Both of these women were centenarians from the Social Register who became front-page news towards the end of their lives. They were at the center of family fights and prosecutors’ investigations. I was drawn to trying to understand the mysteries in their histories.