From Another Planet

My new short story "Hailing Frequency" was just published (and you can hear or read the whole thing online). It's a story about an unemployed geeky dude who moved to Chicago for his girlfriend's job, and then the entire planet got invaded by aliens, and everyone's trying to live life normally, only he doesn't have a life to live yet -- and, yep, it's science fiction.*

It also doesn't have anything to do with Jews.



In this world where Jewish books are valued at a premium and branding books as "Jewish" can make or break a book, advertising your novel or short story or whatever as a Jewish book is pretty valuable. On the other hand, I just finished reading Joseph Kaufman's The Legend of Cosmo and the Archangel, which is written by a self-proclaimed "ultra-Orthodox Jew" and his Judaism is only secondary or tertiary to the book, behind his being a recovering hippie or a rural New Englander.

(On the other hand, a lot of people think my sidecurls look like antennae, which is a pretty good argument for me writing about aliens.)

There's a huge debate going on in the science fiction world about the split between more literary offerings and more, well, sciencey stories. (For a more in-depth explanation, check out this well-voiced article from the SF periodical Clarkesworld.) Does the television show Lost count as science fiction because there are shady explanations of time travel and otherworldly (or other-reality-ly) dealings? Or does it not, because the focus of the show is on the characters?

I'd submit that it doesn't really matter. Rebbe Nachman of Breslov's most popular book, Rebbe Nachman's Stories, is all about beggars and princesses and long walks through dangerous realms -- and virtually no one in the stories is identified as a Jew. (Keep in mind that Rebbe Nachman is one of the original Hasidic masters, not just some Orthodox dude writing fiction on his Twitter account.) Science fiction doesn't need to take place on Mars or in the year 2012, and Jewish books, well, don't need to have JEW printed across the top. (And, conversely, every book with the word "JEW" printed across the top isn't necessarily Jewish. Or good. But that's beside the point.)

Next up on my reading plate is The Apex Book of World Science Fiction -- edited, by the way, by the Israeli writer Lavie Tidhar. I'm kind of in love with it already (okay, it's an anthology, and I've been peeking). My favorite stories are the ones where nothing really matters except the vital parts of the story -- where the characters are like feelings, the setting isn't "Rome" or "Burkina Faso" but is instead a dry swamp, or a child's bedroom. The power of telling a horror story lies in its universality, and the power of an emotional story like Lost is the same -- no matter who you are, and no matter where you're coming from, a good story should be good to you. It should touch you. It should change your life. No matter how Jewish, or SFfy, it is.

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* - I'm saying "science fiction" instead of the preferred appellation "speculative fiction," because no one on this website knows what spec-fic means. Sorry, geeks.

The Jewish Authors' Oscars

Last night the Jewish Book Council hosted their annual National Jewish Book Awards, and they were kind enough to invite me. I wasn't a famous author or a famous book-buyer, but they let me in anyway.

At first my (a) shyness and (b) authory anti-social tendencies and (c) not knowing anybody-ness got the best of me. There was a (parenthetically: really fascinating) exhibit about Thomas Mann and German publishing, and the reception was mostly being held in one room ("mostly" meaning that the drinks table was in there, and therefore, so were all the guests) but spilled over into a second room that was ideal retreating space. I gave it an honorable go, checking out people's name tags to see if I recognized anyone. The first I spied was the illustrator of a book that I kind of slammed last year. Then I saw Alicia Susskin Ostriker, whose book of poetry >The Book of Seventy I'd read last week, but what would I say? I always appreciate when people tell me that, but then there's the deadening lack of conversation that's like, where do we go from here?

Rabbi Joseph Telushkin whizzed by. I worked with him last year on a G-dcast episode, but he was moving too fast to interrupt, although I made a mad dash of it. So I retreated to the exhibit, where I made small talk with two gentlemen who spoke about Thomas Mann like they went to grade school with him, that familiar. After spending about five minutes (that's long, in the context of a conversation, anyway) trying to explain what my book was about, and failing, I threw the question back at him: "So what do you do?" "Oh," he replied offhandedly, "I'm an acquisitions editor." He smirked. And my stomach hit the ground.

I'd kind of composed myself by the time dinner began. I saw Rabbi Telushkin again, and actually spoke to him. Randomly, he asked me where I lived. "Crown Heights," I told him, to which he raised an eyebrow -- he's working on a book about Lubavitch. He started to grill me about my Chabad connections (I'm not, my wife is, her family is about as Lubavitch as the town of Lubavitch), and, the way that these things go, he used to live with my grandparents-in-law and wrote a book in their house.

The M.C. for the evening came on mic and called for everyone to take their seats. Rabbi Telushkin, who was in the middle of a sentence -- he speaks in these long, fluid paragraphs, each like a train with a hundred cars -- ignored him. Then the M.C. said something about a "welcoming word from Rabbi Joseph Telushkin" and I broke him off, don't you have to go? He shrugged and did something with his hands. Carolyn Hessel, who's the director of the Jewish Book Council and maybe the most important person ever to hold a book in her hands, gave a much-too-polite word. The rabbi grinned at me. I scattered.

Remember how I thought I wouldn't know what to say to someone whose book I read? I slid into an empty seat at the table. There was one person I knew, a sometimes-editor of mine, and one person I knew but didn't realise I knew, since we had one of those email-only correspondences (a writing/editing one, not a sketchy Internet one) -- and then there was the person whose seat I slid next to, who was Dalia Sofer. Who might have written one of the best books I've ever read. Who is probably as close to a rock star as the literary world can offer. Who was introduced to me, and whom, upon meeting, I shrunk about 25 or 30 percent and told, in as natural and un-awkward a voice as I could muster (it was still incredibly awkward and incredibly unnatural) that, geez, The Septembers of Shiraz was pretty technically proficient. Or something. Graciously, she talked to me until I'd un-awkward-ized. And it was simply really cool, in the middle of a room where I was surrounded by people with amazing ideas, to have a straight-up conversation about writing that was pretense-free and unencumbered by all our fancy clothes (my invitation said "casual," I dressed casual-but-formalish, and I was still underdressed) and the weight of all the potential in the room.

I could tell you more about the food, or the people, or the books. I wish I could tell you more about the awards ceremony -- the speeches people made, and how incredible it was to take an arbitrary topic, like landlords in mid-20th century Chicago, and listen as an author gripped the microphone and talked about how it was her father's passion and she never understood what it was all about until she researched this 400-page book about it. For someone like me, to whom reading anything but novels (stories, action, making up stuff) is hard, if not impossible, the night was nearly revolutionary.

Black Ties in Philadelphia

Philadelphia Mayor Michael Nutter, speaking at last night's Jewish Publication Society 120th Anniversary Banquet, could not constrain himself from talking about the topic that everyone else could barely constrain themselves from talking about: the Phillies.

Seriously: he got up to the microphone, and there wasn't even a pretense of his being more qualified to speak than the impressive assortment of professors, scholars, and philanthropists in the room (not to mention Norma Shapiro, the first female federal judge in the country), much less the expected "Wow, this is odd -- I'm speaking to a random roomful of Jews." No, sir: in his red tie and white shirt, Mayor Nutter said the exact thought everyone else had been trying to articulate all day: "How about those Phils, ladies and gentlemen. I can't believe it. The Phillies."

He paused, changed his approach, and then said something -- and that's when the profundity hit.

"It's not how much you get knocked down, it's how much you get back up. I think that's something that Philadelphians understand about their sports teams, and they understand it about their lives."

The entire night was a pretty spectacular spectacular. Not quite sure what to do, we stood around with glasses of wine in hand, trying to look at least medium-dignified to the half-full but growing crowd of people who seemed to be born into dignitariness. The weirdest part of these affairs, the rather formal ones where you don't know anyone, is by far the name badges. They're always printed in too-fine type, always on display in dimly-lit rooms, and they're always positioned over a part of the body that isn't really sociable to be looking at.

So I met people, wondering whether I was supposed to know them, finding out (relieved, and then intrigued) that the answer was no. And then someone came over and introduced herself, and it was Rena Potok, the Senior Acquisitions Editor, who I've been emailing with for a year, and who was quite abubble -- about new projects, the projects that were on display, and most of all about their new YavNet project, and JPS's forays into multimedia: