Friday, April 4, 2025

Q&A with Elyse Durham

 


 

 

Elyse Durham is the author of the new novel Maya & Natasha. Her work has appeared in a variety of publications, including Cincinnati Review. She lives in Kalamazoo, Michigan.

 

Q: What inspired you to write Maya & Natasha?

 

A: I fell in love with ballet as an adult after one of my favorite musicians, Sufjan Stevens, collaborated with New York City Ballet. Seeing his music transformed into movement fascinated me, and I soon became obsessed with ballet—attending performances, taking dance classes myself, reading everything I could about dance.

 

Learning about Soviet dancers who defected to the West really piqued my interest. I wanted to know what it would look like to sacrifice everything you knew, everything you loved, for your art. 

 

Q: How did you create your twin protagonists, and how would you describe their relationship?

 

A: Maya and Natasha are inseparable: they're all the family each other has. I like to think of them as one person split into two bodies—Maya is anxious and compassionate, and Natasha has all the grit and ambition.

 

Each of them has something the other can't live without—but as the novel opens, they learn they're going to have to choose between everything they've worked for and staying loyal to each other. Who could make a choice like that?

 

Q: How did you research the novel, and did you learn anything that especially surprised you?

 

A: I studied ballet extensively, both at the barre and in the theater, and I read countless biographies, memoirs, histories, and other books about the psychology of dance, dance injuries, et cetera. I interviewed academics, dancers, accompanists, doctors, and even got fitted for pointe shoes.

 

One of the most astonishing parts of my research was visiting the Jerome Robbins Dance Collection at the New York Public Library for the Performing Arts. I got to leaf through a dozen boxes of Soviet dance ephemera—programs, photographs—and watch home movies from Mikhail Baryshnikov's personal archive.

 

In one of the videos, a Soviet dance student slipped and fell—and she started laughing. That's when it hit me: for all the strained circumstances this student was facing, at heart, she was still just a girl. 

 

Q: The writer David Haynes said that the book “[e]xplores the impossible choices at the intersection where love and obligation collide with a gifted artist’s hunger to reach the heights of success...” What do you think of that description, and what do you hope readers take away from the story?


A: One of the things that inspired this novel was George Balanchine's haunting ballet La Valse, which features a young woman being seduced by the figure of death. In the ballet, Death wins the woman over by appealing to her vanity—and it's hard to separate ambition from vanity.

 

I wanted to explore what it would look like for someone to be completely seduced by their own ambition, and then live with the aftermath. 

 

Q: What are you working on now?

 

A: I'm one of those people who always has multiple projects swirling around. I'm not sure who's going to reach the finish line first, but I know that whatever I'm working on, it has to stretch me to the limits of my ability. That's what makes it worth doing. 

 

Q: Anything else we should know?

A: This book is about a lot of things—art, ambition, sisterhood—but it's also about navigating impossible choices under an authoritarian government. Maya and Natasha's story is about the moral ambiguity of trying to forge a good life in the midst of circumstances totally out of your control. I hope it's a story that gives people courage.

 

--Interview with Deborah Kalb

Q&A with Varda Livney

 


 

 

 

 

 

Varda Livney is the author and illustrator of the children's board book Jewish Cats All Year Round. Her other books include Challah!. She lives in Israel.

 

Q: What inspired you to create Jewish Cats All Year Round?

 

A: I drew the answer to this one.   

 

 

Q: How did you create the illustrations for each holiday?

 

A: I drew hundreds of cats celebrating, and for each page chose the illustration that was the most fun AND captured a central element or two of that holiday (and then, of course, there’s the surprise at the end).

 

Q: What do you hope kids take away from the book?

 

A: I hope that the book will make babies smile and giggle, will introduce them to visual hallmarks of Jewish holidays, and will send them off with warm & fuzzy vibes about all things Jewish.

 

Being as it’s a board book for new-ish babies, the aim is not to explain the holidays, just to be exposed to the Jewish Joy of them.  

 

Q: Are you a fan of cats? If you have cats, do you celebrate holidays with them?

 

A: I AM a cat fan. I grew up in a house with four cats. Unfortunately, I now live in a household with two people who are allergic to them. So, no, I don’t celebrate holidays with them. (If anyone reads this book to their cat, please let me know if the they enjoyed it.)

 

Q: What are you working on now?

 

A: I just last week sent off the files to PJ Library for my next book, which is a board book for Purim. 

 

Q: Anything else we should know?

 

A: Just that these are hard times, I’m hoping for peace for everybody everywhere. 

 

My mood often clashes with the silly things I am writing and drawing, 

but it does cheer me up to try and create smiles for the newest citizens of the world.

 

--Interview with Deborah Kalb. Here's a previous Q&A with Varda Livney.

Q&A with Gabriel Meyer

 


 

 

Gabriel Meyer is the author of the new book On the Verge of the Verb. He is based in New York City.

 

Q: What inspired you to write On the Verge of the Verb?

 

A: I wrote my book inspired by my peace activism, my love of poetry and life, and the desire to empty myself of old stories to have room for new ones.

 

Q: How was the book’s title chosen, and what does it signify for you?

 

A: The title is connected theologically to the highest expression of the Divine for my people. It is the four-letter ineffable name, the Tetragrammaton: YHVH, which in Hebrew is the verb to be.

 

ISWASWILLBE - As I mentioned in my book, "nouns are the cemetery of verbs." The continuous and present vitality of verbs ends when a concept or an explanation or idea takes over (a noun) and becomes the inert endpoint of any life action.

 

Q: The book’s subtitle is “an autobiographical fiction of prophetic sorts.” Can you say more about that?

 

A: The book is a fusion of my real-life stories and a fictional adventure. This adventure is prophetic because it is rooted in Hebrew prophecy and also because it might truly happen in the future.

 

Q: What do you hope readers take away from the book?

 

A: An openness to bridge worlds beyond enemy lines, intergenerationally through humor, creativity, friendship, and art, inspiring collective awe and the re-kindling of purpose for human beings in harmony with our elders, the trees, the animals, the rivers, and the mountains, to name but a few.

 

Q: What are you working on now?

 

A: Working on touring with my live music and selected readings of my book, in interactive events which include song and story and create spontaneous community in 90 minutes. The tour includes East and West Coast events in the USA and Canada.

 

I'm also currently in the process of editing my book into Spanish, to come out in August by the Argentinian independent publisher Milena Cacerola.

 

Q: Anything else we should know?

 

A: I will be touring South America with my Spanish version of the book.


--Interview with Deborah Kalb 

April 4

 


 

ON THIS DAY IN HISTORY

April 4, 1928: Maya Angelou born.

Thursday, April 3, 2025

Q&A with Laurie Schneider

 


 

Laurie Schneider is the author of the new middle grade novel Gittel. She lives in Norman, Oklahoma.

 

Q: What inspired you to write Gittel, and how much was the novel based on your family history?

 

A: My great-grandfather Alvin Garber lived in a Jewish agricultural colony near the Village of Arpin in Central Wisconsin in the early 1920s and that was really the initial spark. He is Zayde in the story and my fictional version of Arpin is called Mill Creek.

 

In the mid-1990s I was doing research on Jewish agricultural colonies for my master’s thesis at Washington State University and my husband and I visited Arpin on a trip to Wisconsin to see family. I’d been hoping to see what remained of the colony’s old synagogue, which I’d been told had been incorporated into a local farmer’s home.

 

Someone at the local bar—this is Wisconsin after all—directed us to the house and I stopped to snap a picture of my great-grandfather’s synagogue-turned-farmhouse: just a nicely kept white farmhouse indistinguishable from other houses in the area.

 

It was a beautiful summer day. No one was out and about and no trace of the 80-some Jews who once lived, worked, and worshipped there.

 

I can’t say that was the moment I vowed to write my novel, but I did write several poems about the colony that made their way into my master’s thesis and those poems were the seeds for the novel that came years later.

 

As for how much is based on my family, the timeline of the story doesn’t match my family’s time in Arpin, but many of the central characters are based on family members.

 

My great-grandfather Alvin Garber lived and farmed in “Mill Creek” for five years, but he wasn’t part of the original group of settlers. He was however, as portrayed in Gittel, the community’s shochet and de facto rabbi.

 

Other characters, including Bubbe, Mama, Papa, and Gittel are also based on family members and conjured from a soup of magic, memory, and the many stories I’d been told by my mother growing up.

 

The novel gets its name from my mom, Gloria, whose name was Gittel when she came to the United States from Romania at age 2. She was a spitfire, a state champion debater, and social-justice activist late into her life. 



Q: How did you research the story, and what did you learn that especially surprised you?

 

A: I was lucky to have two brief oral histories on cassette tape, one a story-corps style conversation my brother recorded with our great-grandfather in 1968 and another more recent tape that my mom recorded focused on her memories of my great-grandmother. Those are family treasures.

 

I also spent a lot of time pouring over old newspapers and, of course, I had all of my graduate school research on Jewish agricultural colonies. And, thanks to a professor I had in grad school who was a fabulous cultural historian, I have a solid grasp on the people and movements of the Progressive era. (Shout-out to LeRoy Ashby!)

 

There was so much that surprised me and things that I had forgotten while doing my research. I hadn’t listened to the tape my brother made since I was a child. In fact, I thought it had been lost and I was so relieved to find it in a filing cabinet with my mother’s papers.

 

It was touching to hear both my brother’s and my great-grandfather’s voices again as both have passed away. At the end of the tape my brother asks our then 89-year-old great-grandfather if he would like to sing something and grandpa launches into an old Russian folk song! I hadn’t remembered that at all and listened with a real lump in my throat.

 

Q: The writer Kirby Larson said of Gittel, “Impulsive, brash, and full of heart, she endures loss and prejudice without losing sight of her remarkable self.” What do you think of that description, and what do you hope readers take away from the story?

 

A: I think it’s spot on, and I teared up when I first read it. Kirby’s Hattie Big Sky is a favorite book of mine – I have a signed copy from an SCBWI conference I went to years ago —and I felt honored that she read my book, let alone loved it. 

 

As for the takeaway, I didn’t start the story with anything in mind other than to preserve a piece of little-known Jewish American history, but as a writer, I suppose my biggest hope is that readers are able to make an emotional connection with Gittel’s story. That’s the only way I know how to write and I hope that my connection creates a pathway for readers to connect, too.

 

Beyond that—Gittel’s story is even more relevant now than when I began writing it. It’s no longer a quaint immigrant story, but a reflection not just of our past, but our present.

 

So maybe there is a takeaway. I think Gittel asks today’s reader that we be open to others who are different, that we be interested in learning and listening with our hearts. That we have compassion for one another and understand that we all endure loss and experience joy; we all carry our family histories with us— for generations.

 

Q: Emily Dickinson plays a big role in the story—why did you choose to include her poetry?

 

A: I’m a pantser not a plotter, and Emily popped into the story and refused to go away. Gittel is prone to flights of fancy and I think Emily Dickinson keeps Gittel grounded and appreciative of the here and now, helping her to see the divine in the humdrum farm life she often complains about.

 

Q: What are you working on now?

 

A: I have a fun middle-grade dramedy set in the summer of 1969 that I’d love to find a home for and a folder full of story starts I’m excited to dive into.

 

Q: Anything else we should know?

 

A: I’m so grateful to everyone who has read or chooses to read Gittel. It means so much to me. If anyone is interested in using Gittel in the classroom, there are downloadable lesson plans for grades 6-9 on my website, along with a digital scrapbook of vintage photos and an audio clip of my great grandfather singing that Russian folksong. www.laurieschneider.com

 

--Interview with Deborah Kalb

Q&A with Christina Matula

 


 

 

Christina Matula is the author of the new children's picture book The Beat of the Dragon Boat. Her other books include Mixed-Up Mooncakes. She lives in Helsinki, Finland.

 

Q: What inspired you to write The Beat of the Dragon Boat?

 

A: I was inspired to write The Beat of the Dragon Boat while living in Hong Kong and immersing myself in Chinese culture. Growing up in Canada, my Taiwanese mother would make zongzi, the traditional bamboo-leaf-wrapped rice dumplings, but it wasn’t until I moved to Hong Kong that I realized these dumplings had a deep connection to the Dragon Boat Festival.

 

The festival takes place on the fifth day of the fifth month in the lunar calendar, which falls at the cusp of summer. It’s such a vibrant and exciting event that brings the whole city to life. I loved taking my family to Stanley Beach to cheer on the dragon boats racing in the South China Sea.

 

What I find most amazing is how the races have grown in popularity and are now celebrated internationally, with communities around the world hosting their own dragon boat festivals.


Q: How did you research the book, and what did you learn that especially surprised you?

 

A: Most of the stories I had heard about the origin of the Dragon Boat Festival centered on Qu Yuan, the ancient Chinese poet. His story tells of how he threw himself into the river and how villagers raced out in boats to save him—tragically, they failed. While it’s a fascinating legend, I didn’t think it lent itself well to a joyful picture book.

 

Then I came across historical note about villagers long ago who beat drums and raced boats to encourage the Dragon King to bring rain for their crops. It’s such a universal theme and found in many societies—asking spirits for help with the harvest.

 

Unlike the fiery, destructive dragons of European folklore, Chinese dragons are benevolent creatures that help people by bringing wind and rain. I decided to create a story that weaves together these two origin tales.

 

Q: What do you think Nicole Wong’s illustrations add to the story?

 

A: Nicole’s illustrations are absolutely stunning—I had goosebumps the first time I saw them. Her dragons leap off the page, drawing readers into both the mythical world of ancient dragons and the modern-day dragon boat races at the harbour.

 

Without needing to say it explicitly in the text, her artwork beautifully conveys the deep love shared between the grandparents and their grandson, as well as their pride in their Chinese heritage.

 

Q: You’ve written for different age groups--do you have a preference?

 

A: I’ve written picture books and middle-grade novels, and I truly love writing for children of all ages. There’s such a sense of wonder and excitement that children bring to books, which makes writing for them incredibly rewarding.

 

Q: What are you working on now?

 

A: I now live in Finland (my husband is Finnish), and I’m diving into the fascinating aspects of Finnish culture that I love. I’m hoping to share some of these stories with young readers in the near future.

 

Q: Anything else we should know?

 

A: I love hearing from educators and readers! You can find more information about me and my books at www.christinamatula.com. Thank you so much for giving me the opportunity to share The Beat of the Dragon Boat with your readers.

 

--Interview with Deborah Kalb

Q&A with Sofie Wells and Ali Barclay

 


 

 

Sofie Wells and Ali Barclay are the authors of the new children's picture book The Tales of Charlie Wags: London. They also have written the book The Tales of Charlie Wags: New York City. They are sisters.

 

Q: Why did you choose London for your new Charlie Wags story?

 

A: London is one of the most iconic cities in the world—and also one of our absolute favorites. We’ve had the pleasure of visiting many times, and Ali studied abroad there during college.

 

When we first mapped out this series, the first three locations were no-brainers. With so many incredible cities to choose from, London stood out as a must—its history, charm, and timeless appeal made it the perfect place for Charlie Wags to explore

 

Q: What do you think Sanna Sjöström's illustrations add to this new book?

 

A: Beyond the obvious—charm, whimsy, dreamy watercolor, and incredible attention to detail—Sanna has a gift for capturing landmarks in a way that feels both realistic and fantastical.

 

That’s exactly what we envisioned for this series. It’s a balance between education and enchantment—helping kids recognize these famous landmarks while immersing them in the wonder of Charlie’s world. He’s a magical traveling pup, after all! His world can be a bit more indulgent than ours.

 

This book also marked a shift in our creative process. With The Tales of Charlie Wags: New York City, we meticulously storyboarded every page.

 

By the time London rolled around four months later, we trusted Sanna completely. We basically turned over the story text and a few inspiration photos on a document and said, “Have at it!” The only notes we gave were things like, “Make Big Ben and the London Eye feel Peter Pan-y.”

 

And she absolutely nailed it. Watching her take full creative control in this book was a turning point—it solidified the trust and partnership we now have, which we deeply value.


Q: Did you learn anything new or surprising about London while working on the story?

 

A: Even with cities we’re fairly familiar with, we always discover new things while researching for the Paws and Learn: Landmarks Unleashed! section. For those unfamiliar, each Charlie Wags book ends with a fun, engaging breakdown of the landmarks Charlie visits—along with a conversation starter for kids and their caretakers.

 

One fact that surprised us is that Borough Market dates back to the 12th century. We admittedly had no idea it had such a long and rich history. We’ve been there before and thought of it as a fun spot for incredible food and photo ops, but learning about its historical roots gave us a whole new appreciation for it.

 

Q: What do you hope kids take away from the book?

 

A: One of the things we love most about these stories is how they can meet families wherever they are. If you’re planning a trip to London, this book can help little ones recognize landmarks and build excitement before they even step off the plane.

 

If a visit isn’t in the cards due to cranky toddlers on strict nap schedules, that’s okay, too—Charlie’s adventures are a way to bring the educational value of travel right into your home.

 

But at its core, we wrote these books for families who may not have the opportunity to visit these places at all. Travel has shaped our lives in immeasurable ways—whether it’s connecting with people from different backgrounds or simply feeling more at home in the world.

 

Our goal is to offer children a fun, accessible introduction to some of the world’s most iconic cities, planting little seeds of curiosity along the way.

 

Maybe it sparks a love for travel, a fascination with history, or even just a recognition of a famous landmark. But if a child finishes this book knowing Big Ben is in London and feels a little more connected to (and intrigued about) the world around them, we consider that a win.

 

Q: What are you working on now?

 

A: While the first two books in the series, New York City and London, were completed in 2023, they’ve only just been released in the past few months. Right now, we’re focused on getting them into the hands of readers while also preparing for the next two books in the series, both set to launch later this year.

 

Looking ahead, books 5 and 6 are fully written and edited and are now in the illustration phase. Books 7 and 8 are in the research and writing phases. And the best part? We’re doing it all while juggling life with newborns!

 

--Interview with Deborah Kalb. Here's a previous Q&A with Sofie Wells and Ali Barclay. This post was created in partnership with Sofie Wells and Ali Barclay. Enter this giveaway for a chance to win a signed hardcover copy of The Tales of Charlie Wags: New York City, a collection of adorable Charlie Wags greeting cards, AND a $50 Amazon gift card to fuel your next reading spree!


April 3

 


 

ON THIS DAY IN HISTORY
April 3, 1783: Washington Irving born.

Wednesday, April 2, 2025

Q&A with Bryan Gruley

 


 

 

Bryan Gruley is the author of the new novel Bitterfrost. His other books include Starvation Lake. He lives in Michigan.

 

Q: What inspired you to write Bitterfrost, and how did you create your cast of characters? 

 

A: Bitterfrost was inspired initially by something that happened in the National Hockey League more than 20 years ago. Two players engaged in an especially violent fight. One was hurt so badly that he never played hockey again. The other went through litigation hell but eventually resumed his career.

 

It left me to wonder how one handles the idea that he or she might have ruined someone else’s life. That was the inspiration for the protagonist, Jimmy Baker.

 

Devyn was born in a previous, unpublished novel in which she defended a mixed-race hockey player against rape charges. I liked Devyn’s toughness and sense of humor in that book—which no one will ever read—and brought her into Bitterfrost with a family and a strong hockey connection.

 

Klimmek, the detective, was initially just a necessity, but he grew as I wrote him, and about halfway through, I decided he would be faced with perhaps the most difficult decision of any character in the book. I liked him a great deal and thought his wife, Kris, was an able foil, challenging Klimmek to have faith in his instincts and act accordingly.

 

Q: The Publishers Weekly review of the novel says, “Gruley buttresses the book's sleek procedural elements with a textured, lived-in setting, granting even minor characters a surprising amount of dimension.” What do you think of that description?

 

A: It’s always good when a reviewer appreciates what you’re trying to do, so I was happy to read it, especially the bit about minor characters such as Kris Klimmek.

 

I try to give every character in my books more than one defining characteristic because even a little complexity helps bring them to life on the page, while at the same time helping to bring more major characters alive as well.

 

In Bitterfrost, I hope readers will see this in the interplay between Devyn and her wayward client Jordan Fawcett. Jordan was great fun to write, as was her mother, Shirlee. Shirlee has her own peccadilloes but she also turns out to be pretty important to the story’s denouement.


Q: Did you know how the novel would end before you started writing it, or did you make many changes along the way? 

 

A: I usually have little to no idea how one of my books will end, and Bitterfrost was no exception. I had a vague idea that one or two things would transpire, but I didn’t know how, and only by pushing forward with the narrative was I able to learn how things would play out in the final chapters.

 

I make many changes as I go, often printing out chapters and marking them up with a pencil (and then changing the penciled changes as I tap them into my laptop). When I complete the first full draft, I have it bound and printed so I can go through every word of it.

 

With Bitterfrost, a friend who read an early draft mentioned something about Devyn’s relationship to Jimmy that prompted me to go back and rewrite the last few pages. I love the very last sentence or two.

 

Q: Did you need to do any research to write the book, and if so, did you learn anything that especially surprised you? 

 

A: I read a little about that NHL episode, but not much, because I wanted to create my own situation with my own emotional truth. I also read an excellent nonfiction book, Darker Than Night, by Detroit journalist Tom Henderson, that inspired some of the elements of the crime described in Bitterfrost.

 

I drove around the northwest Lower Peninsula of Michigan looking for details that would help me bring the fictional town of Bitterfrost alive. And I consulted with northern Michigan defense attorney Ron Varga on legal and courtroom matters. He was a huge help—and I named a character after him.

 

Q: This is the first in a series--can you tell us what's next? 

 

A: The sequel, which includes Devyn, Klimmek, a member of the Dulaney family, and a character who first appeared in my novel Starvation Lake, is about the drowning of twin infants in the river that bisects Bitterfrost. Accident or homicide? Working title: River Deep.

 

Q: Anything else we should know? 

 

A: Sharp readers of the Starvation Lake trilogy might notice that an important character from those books plays a crucial role as a judge in Bitterfrost.

 

--Interview with Deborah Kalb

Q&A with Kathleen Somers

 


 

 

Kathleen Somers is the author of the new memoir Barely Visible: Mothering a Son Through His Misunderstood Asperger Syndrome. She is a freelance graphic designer and copywriter, and she lives in Berwyn, Pennsylvania.

 

Q: Why did you decide to write this memoir?

 

A: My primary reason for wanting to write this memoir is to raise awareness, not simply about autism—there’s already plenty of that—but about the unique difficulties that accompany the varying degrees and subtleties of it.

 

When my son Jack was formally diagnosed in 2007, he was diagnosed with what was then called Asperger syndrome, but today is considered high functioning autism. Because he is high functioning, he gives off the appearance of being able to navigate the ups and downs of daily life.

 

And to a large degree, he can. He just recently earned a college degree. He drives a car, has a job, and is even beginning to make his way in the competitive world of modeling. He appears like every other young adult starting their journey toward independence.

 

But we all know that appearances can be deceiving. Jack appears one way on the surface, yet beneath it, he is a completely different person that operates in ways that are foreign to most of us. In any given moment, it’s difficult to pinpoint and define what makes him different, or to make sense of a situation gone wrong.

 

Because Jack appears like everyone else, it’s hard to believe that he’s not. His limitations can all be felt. It’s the tension at a restaurant table when his food is not what he expected, envisioned, or ordered, and he refuses to eat it.

 

It’s the irritability he experiences when the car is too hot or the sun too strong. It’s the embarrassment I feel when he comes off as being rude or disruptive.

 

It can be heard in the endless strings of babble that pour from his mouth, or the complete lack of expression in every awkward “thank you,” because that’s the only social rule that ever stuck.

 

But rarely can it be seen.

 

Jack is trapped halfway between assisted and accomplished. No one offers him the assistance he needs because no one can see that he needs it, and no one understands why he can’t accomplish more because they can’t see that he’s trapped in place by something he can’t control.

 

It’s an unfair gray space that creates a unique set of problems whose answers aren’t always easily found, and the impact of that extends beyond just the world’s perception of Jack.

 

It also impacts his perception of himself. He carries a label around with him that he struggles to accept because it implies that he is less than or limited, and that, of course, is incredibly destructive to his self-esteem and confidence.

 

My parenting journey with Jack from toddler to adolescent to young man has been filled with struggles and questioning.

 

How do you convince others to “cut your child some slack” when the kid they see looks like every other kid they know? How do you explain away behavior that, at face value, looks like the result of bad parenting? How do you prevent others from discriminating against your child once you do disclose their disability?

 

And how on earth do you do any or all of that while your marriage is falling apart, and the rest of life is swirling around you?!

 

I have been walking a very fine line for the last 17 years because of it, trying to balance all the unknowns, and making every mistake possible. I feel an obligation to share that with other parents that are on the same path we’ve already traveled.

 

Yes, there are far more resources available to parents today, but medical and educational resources aren’t always enough. There is immense value in connecting with someone else who has been in your shoes, feeling their support, and knowing that you are not alone.

 

My hope is that writing this book will help parents of children with high functioning autism to understand not only their child but also their own feelings and to maintain their sanity.

 

I’m hoping it will provide necessary perspective—that high functioning autism isn’t necessarily better or easier. It comes with its own set of challenges that can be just as difficult to surmount.

 

By sharing my mistakes, maybe a parent will be empowered to get vocal about their child’s behavior, encouraged to swallow the embarrassment and stop apologizing to the world, and recognize that a path forward is possible.

 

Secondarily, I have never had interest in social media, and finding ways to advocate and create change does not come easily to me. Having written this book is my way of contributing to the conversation and trying to make sense of it all.


Q: What do you see as some of the most common perceptions and misconceptions about Asperger syndrome?

 

A: People with Asperger syndrome are often perceived as being “odd” and a bit detached from reality. Because their interpretation of the world is so literal, there response is as well.

 

The rest of us have learned the subtle dance of social interaction which involves a bit of role playing and pretense. To the neurotypical, having to don that mask every day is a given.

 

It’s the complete opposite for the person with Asperger’s. Their inability to go along with the act is why others see them as odd. In truth, the authenticity of the Aspie’s response to life and manner of navigating it is far more worthy of admiration. It’s 100 percent authentic.

 

I think the biggest misconception is that people with Asperger syndrome are hidden geniuses. That’s not true. Asperger syndrome is a brain difference, meaning the way in which information is processed is different than the neurotypical way.

 

That manner of processing has its biggest impact on social interaction and communication and isn’t any indication of intelligence. People with Asperger’s exhibit a range of intelligence, from average IQ to highly intelligent.

 

Aspies often focus intensely on one particular interest because it provides routine and a sense of comfort, helping to reduce anxiety. Because they get hyper-focused, they often come off as having deep knowledge or expertise in that particular area, leading others to believe that they are more intelligent.

 

Q: The writer Diana Kupershmit called the book a “moving, beautifully rendered account of a mother’s journey accepting her son’s disability, and the ultimate triumph of the heart, where love wins and letting go begins.” What do you think of that description?

 

A: I love Diana’s choice of words, and I think her description is spot on. Every parent knows that, at some point, we need to let our children go. We need to allow them the freedom to fail, so they can learn, grow and hopefully succeed on their own.

 

When your child is disabled though, the idea of letting them go is unthinkable. You’ve devoted your entire self to their protection and the thought of forcing them to face this unforgiving world on their own is unacceptable. It brings on an overwhelming sense that you’re abandoning them.

 

But allowing Jack the opportunity to make the most of his abilities is essential to his development. As painful as it is, I need to step back and allow him to figure the world out on his own, try his hand at different things, make mistakes, and yes, fall hard.

 

I also need to stop being the buffer between him and the rest of the world. He will never develop an understanding of how to react to various situations and interact properly with others if I’m always stepping in to mitigate situations gone wrong.

 

Not only am I letting go of him but I’m also letting go of my years of embarrassment, my explaining away of every bad behavior, and my constant need to apologize to the world. I’ve stopped beating myself up for all the mistakes I’ve made—every parent makes them—and I’ve learned to love not just Jack, but myself in the process.

 

Q: What impact did it have on you to write the book, and what do you hope readers take away from it?

 

A: The idea of writing this book about my only child and our discovery of his disability was daunting. I remember thinking that I was writing aimlessly with no forward path. I often questioned why I was doing it and whether I was wasting my time.

 

I’m not an authority; I’m anything but. I’ve made every mistake possible and I’m still making them.

 

But every time I’ve reflected on all that Jack has experienced, all that we’ve been through as a family, and the uniquely incredible person he has become, I’ve realized that telling our story wasn’t something I needed to do for myself, but for all those other families dealing with similar circumstances who don’t know what to expect or how to handle it.

 

The book was not written in any linear fashion. Nothing about Jack’s growth and development has ever been linear. Just when I’m able to connect all the dots and finally make sense of a given moment in time, he does something to remind me that there are still loose ends and unresolved issues from some earlier chapter of his life.

 

I had made countless strings of notes along the way, a piece here, a thought there. Each note I made seemed to make perfect sense at the time, but when I would return to them later, they all appeared as senseless as Jack’s behavior.

 

Needing to organize them in some logical fashion forced me to articulate Jack in his entirety. It forced me to chew, swallow, and digest all of life with Jack, and that was downright nauseating at times. But it was necessary.

 

I have spent years working on this book, not continuously, but if I wasn’t writing, it was still top of mind. That means I’ve spent years living in the past, trying to conjure up memories, and I question if that’s been harmful.

 

By living in the past, has my perspective on Jack as a young adult been skewed? Have I put too much emphasis on “what was” when “what is” is now different? His disability remains—it won’t ever disappear—but the way in which he handles things has changed.

 

Or has that past perspective been helpful? Delving deeply into Jack’s childhood, dissecting all his responses, and questioning why he behaved the ways he did may have enabled me to see the adult Jack more clearly and better guide him.

 

It may seem cliché, but I hope the takeaway is that we are ALL human—parents and children, neurodivergents and neurotypicals alike.

 

No matter how much you love your child, it’s okay to not like them at times, regardless of their disability. It’s okay to want to run and hide and hope it all just disappears. Sometimes it’s necessary to give in to the pressure so you can start fresh and regain the strength to go another day. And for god’s sake, have a sense of humor about it all. It helps!

 

Q: What are you working on now?

 

A: I always have several novel ideas in the works, but I have struggled to fully commit to any of them. Self-doubt always gets in the way, and there are so many amazing books out there bringing such clever ideas to life, that it’s intimidating. I’m a perfectionist, so of course I want to write something that stands out, and I won’t except anything less from myself.

 

The old adage, “write what you know,” though, has been helpful in getting me further with one idea than any other. What I know best is life with my son, so I’ve decided to focus on a story that has evolved from experiences with him, but is, of course, completely fictional.

 

I am still in the very early stages. At this point it is nothing more than a developing outline and a growing pile of notes. I’m hoping I’ll have more time to bring it to life once my memoir is released and life begins to settle down a bit.

 

Q: Anything else we should know?

 

A: People believe that Asperger syndrome is an obsolete diagnosis. Yes, it’s true that in 2013, with the publication of the American Psychiatric Association’s Diagnostic and Statistical Manual of Mental Disorders, use of the term was abandoned, and the symptoms are now included within autism spectrum disorder.

 

But the severity and presentation of autistic symptoms can vary widely from person to person. A young adult like Jack, who has a college degree, a job, and drives a car, is significantly different than the child who is non-verbal and requires life-long assistance.

 

Yet he is not quite the same as a neurotypical 24-year-old. He interprets and responds to the world differently, many times in ways that are difficult to understand and embrace.

 

A term like Asperger syndrome is still needed—a phrase to define the gray space between being visibly autistic and being completely neurotypical—one that creates a degree of separation from autism spectrum disorder. In a perfect world though, the lines would be blurred completely, and labels would disappear altogether.

 

--Interview with Deborah Kalb