Bethany Ball is the author of the new novel What To Do About the Solomons, which focuses on an Israeli family. Her work has appeared in a variety of publications, including The Common and The American Literary Review. She lives in New York.
Q:
How did you come up with the idea for your novel, and for the Solomon family?
A:
I married an Israeli about 17 years ago. I think whenever two people from
different cultures marry there is going to be friction and a kind of culture
shock, for both parties.
My
husband was a kibbutznik from a large-ish family. I had not really intended on
writing a book about Israelis but I had written several pieces about Israeli
commandos and a story about an Israeli mother who unknowingly leaves her child
alone while she travels to America.
When
I wrote the first chapter of What to Do About the Solomons, which was about a
kibbutznik named Guy Gever having a kind of breakdown (or breakthrough), I knew
I had a book in the making. It was a lot of fun and a good way to write a first
novel.
There
were sparks between the stories, a kind of friction that propelled the
narrative forward. And writing the book was a way for me to make sense of two
things: Israeli culture and the dynamics of a large family.
Q:
You tell the story from a variety of perspectives. Did you especially enjoyed
writing about some of the characters in particular?
A:
I enjoyed writing the first chapter very much. That was one of those rare
chapters that felt completely effortless to write. It was the chapter that made
me want to write the book.
Guy
Gever is alien to me in many ways, and at the same time, utterly familiar. I
love the idea of people breaking down and rebuilding themselves, creating a life
they ultimately want. For that reason, I rooted for Maya as well.
Q:
The story takes place over many years in the life of the family. Did you write
the chapters in the order in which they appear, or did you move things around
as you wrote?
A:
The narrative takes place over many years because my feeling about people is
that you only really know them over a long period of time.
I
wanted to show my characters evolving and devolving over years and years, but I
didn’t necessarily want to do it in chronological order.
Memory
does not work chronologically. Someone can behave to me in a certain way and
maybe I’m surprised. Or maybe I will remember an incident that happened 20
years ago that illuminates the interaction. I wanted to bring that quality to
the book.
Q:
How was the title selected, and what does it signify for you?
A:
I had a very difficult time naming this book. No one could come up with a
title. It was a painful process. I kept going for sort of biblical titles, Old
Testament titles, but they didn’t speak to the modern, secular nature of the
book.
Eventually,
my amazing agent Duvall Osteen came up with the title. We were on the phone and
she said it and I was like, That’s it! Luckily, my editors at Grove went for it
as well.
Q:
What are you working on now?
A:
I’m right now trying hard to get back to my second book. It’s a more
traditional novel set in Detroit, the American South and New York City in the
year 1999 leading up to the Millenium. It deals with the mythology of Y2K,
being broke, and auto plants.
One
day I’d love to revisit the Solomons, but not for this book.
Q:
Anything else we should know?
A:
As someone who was born to Protestant parents but did a kind of conversion
later, I wrote this book to help me understand this culture that was alien to
me, and seemed also to be unknown to a lot of people here in the United States.
I
wanted to write about kibbutz life and I wanted to write about a large
sprawling family. In my mind I had Anna Karenina, Mrs. Dalloway, Bolano and
even Spike Lee’s Do the Right Thing as references.
A
good friend of mine who’s Greek said that he had many “Solomons” in his family
and could relate. As crazy and in some ways exaggerated the Solomons are, they
love and support one another and as someone who comes from such a small nuclear
American Midwestern family, I envy them to some degree.
--Interview with Deborah Kalb
No comments:
Post a Comment