Monday, April 14, 2025

Q&A with DeAndra Davis

 

Photo by Briah Christia

 

 

DeAndra Davis is the author of the new young adult novel All the Noise at Once. She teaches at Florida Atlantic University.

 

Q: What inspired you to write All the Noise at Once, and how did you create your characters Aiden and Brandon?

 

A: All the Noise at Once was inspired both by my own experiences being black and autistic, that of my son who is also autistic, and then combined that with our family’s love for football since my husband used to play.

 

I was deeply inspired by my own anxieties, especially after seeing the treatment of both black and autistic people by law enforcement over the years. So much of that manifested into the story that exists now. I wanted to present both in a way that was real about those anxieties, but also presented hope. 

 

Aiden and Brandon have always been my main characters, though I flip-flopped a lot with who would be telling the story. I had times where Brandon was the narrator and other times when it was Aiden. I realized the story was truly about them both, but Aiden needed to do most of the growing and so the story ultimately belonged to him in the end.

 

They are an amalgamation of people, as most characters are. Aiden has bits of me and my son. Brandon has bits of me as well. Aiden has bits of my sister. I saw them as my own family and extensions of them.

 

Q: How would you describe the dynamic between them?

 

A: I think they have a very classic sibling dynamic in which there is this pressure on the oldest to look out for the youngest, take them everywhere, include them in everything, but Brandon doesn’t resent that, he revels in it. He loves his brother.

 

The thing is, because Aiden is autistic, Brandon doesn’t see the ways he amplifies those responsibilities, making them too big and too much of himself. So much of him is wrapped up in responsibility. Meanwhile, Aiden is the benefactor of all of that and is content, at first, to just let those things happen until he realizes how much it infantilizes him.

 

So they have this amazing relationship where they truly care so much for each other and love each other but it’s also beginning to chafe a bit as reality and life seeps into it.

 

They have to grow up and those growing pains are tough but I think they respect each other so much and Brandon, especially, has so much respect for Aiden and doesn’t just see him in one way that they find really great ways to work through things. 

 

Q: The writer Jay Coles said of the book, “Equal parts witty and heartbreaking, All the Noise at Once serves as a window into the Black autistic experience and as a beacon of hope for those our justice system has forgotten and failed.” What do you think of that description?

 

A: I think it’s an amazing description and I am still so grateful to Jay for that review. I think where the book will make you cry at times, it will also make you laugh.

 

It places you in someone else’s shoes and while things are hard, it gives you some small outlook and hope that things can be better if we start somewhere, even if all the answers aren’t the ones we wish we could get out of the situation.

 

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

 

A: Actually, one of my friends who read the book picked the title right out of the text. She knew I needed a new title and highlighted it and said, Hey, this would be really good. The line was all the noise, all at once. We shortened it and got here.

 

I think it really signifies the ways in which we, when dealing with intersectional identities, have so much that we are juggling all the time. We are juggling being marginalized in multiple ways and it’s affecting the ways in which we move through the world.

 

The input of that is the noise and it’s something we have to field all at once, constantly. We don’t get it in bits and pieces because our identities cannot separate from each other, they only compound. I think the title truly ended up being perfect.

 

Q: What are you working on now?

 

A: I am currently working on my second young adult novel, which follows a teen girl who travels to Jamaica to find the mother that abandoned her but gets a bit more than she bargained for. She grows up a lot during the trip and learns that sometimes you have to challenge the people you love even if it hurts.

 

It’s a beautiful story and I’m very excited to write something about and immersed in my heritage. 

 

Q: Anything else we should know?

 

A: All the Noise at Once is out tomorrow! You can preorder anywhere books are sold, but if you’d like a personalized and signed copy, you can order from an indie here.

 

--Interview with Deborah Kalb

Q&A with Wesley King

 


 

 

 

Wesley King is the author of the new middle grade novel Benny on the Case. His other books include the middle grade novel Sara and the Search for Normal. He lives in Newfoundland.

 

Q: What inspired you to write Benny on the Case, and how did you create your character Benny?

 

A: The inspiration was very much born out of my surroundings…after moving to Newfoundland, I realized I wanted to share the unique perspective and self-deprecating humor I found here.

 

The main character, Benny, was inspired by personal connections, and he was an absolute joy to write…exploring his relationship with Mosaic Down syndrome and the new people around him helped pull the mystery along.

 

I also wanted to celebrate intergenerational friendships and aging gracefully—things my own grandparents instilled in me—so the setting naturally became a retirement home. I liked the idea of a boy growing up in that environment surrounded by eccentricity and wonderful influences. Mr. Tom is a literary version of my Opa, who played a huge role in my life.

 

Q: As you mentioned, the novel is set in Newfoundland--how important is setting to you in your writing?

 

A: Incredibly important, and something I always focus on (even in fictional, fantasy-driven stories). You always want to write stories within a living, breathing world.

 

Newfoundland is one of those locations that becomes a character in the story…rugged beauty and a vast sense of emptiness, which makes the warmth of its people even more memorable. 


Q: How would you describe the relationship between Benny and Salma?

 

A: At one point in an early draft, Salma was written as the new boy in town. The connection was still sweet, but I found the relationship more interesting and challenging when the exceptionally shy Benny instead became friends with the brilliant new girl in town…and both were subjected to very similar challenges.

 

The relationship became a focal point of the book because it was heartfelt and mutually empowering: Salma helped Benny believe in himself, and Benny helped Salma acclimate to her new home.

 

Q: The School Library Journal review of the book says, “A heartfelt character-driven mystery featuring a neurodivergent male protagonist that explores friendship, belonging, and family, this is a story perfect for fans of R.J. Palacio’s Wonder, Gayle ­Forman’s Not Nothing, and Gordon ­Korman’s Restart.” What do you think of that description?

 

A: I’ll take those comparisons any day of the week, and I think Benny shares a lot of aspects with those wonderful stories. I particularly like the mention of “heartfelt” and “character-driven” as I think that’s the key to this particular mystery: The mystery plotline is a framework for growth and hope in the face of change.

 

Benny’s relationship to Salma and Mr. Tom provides the true heart of this story, and it’s through that shared growth that they solve the mystery.

 

This is one of my favorite stories I’ve ever written, and I hope readers feel the same.

 

Q: What are you working on now?

 

A: I have a few different projects coming out over the next couple years. In 2026, I’ll be releasing the first installment in a brand-new illustrated middle-grade series as well as my adult debut with Emily Bestler Books—an atmospheric murder-mystery called Wolf Season.

 

Follow-ups to both projects will be released in 2027. Readers can check out wesleytking.com for updates.

 

Q: Anything else we should know?

 

A: Only that I hope readers love Benny, Salma, and Mr. Tom as much as I do, and I hope they enjoy a literary vacation to beautiful Newfoundland.

 

--Interview with Deborah Kalb. Here's a previous Q&A with Wesley King.

Q&A with Jeff Verney

 

 


 

Jeff Verney is the author of the new children's picture book Bunnies to the Rescue!. Also a musician, he lives in Connecticut.

 

Q: What inspired you to write Bunnies to the Rescue!?

 

A: Over the years my family and I have vacationed on Nantucket, and one summer I realized that no matter where we stayed on the island, there were always bunnies in the yard.

 

And as I started to pay attention to the bunnies, the light finally went on that there were bunnies all over the island. I started thinking about all of the books that I had read about Nantucket, and none of them really mentioned the bunnies!


After noodling on this, a few years ago I thought, “I should write a children’s picture book about the bunnies.” I spent a couple of years thinking about possible story lines; I knew I wanted the book to have action and excitement while at the same time having a couple of high-level positive themes.

 

I finally settled on one of the ideas that involved three bunnies trying to save a stuffed bunny whose family was taking it to different locations on the island. It was an absolute joy to then write the story while on vacation in Nantucket, while sitting at a picnic table in the back yard and watching bunnies hop back and forth across the yard!

 

Q: What do you think Melissa Bailey’s illustrations add to the story?

 

A: I wanted the book to be a visual love letter to Nantucket, featuring some of my family’s favorite places on Nantucket. I joined the Society of Children’s Book Writers and Illustrators which gave me access to the portfolios of hundreds of different illustrators, and I literally looked at every single portfolio.

 

As I pondered hundreds of illustrations, I kept returning to the portfolio of Melissa Bailey, who has illustrated dozens of children’s picture books, and decided she was just the illustrator I was looking for! 

 

From the time I received her initial sketches through getting her completed colored illustrations, I felt like Melissa had lived on Nantucket and was inspired by its natural beauty, just as I have been since the first time I stepped on the island!


Q: Can you say more about why you decided to set the story on Nantucket?

 

A: Several years ago, my family and I started a tradition of vacationing on Nantucket Island for a week each summer. Each year we have rented a house in different locations on the island, giving us a chance to really get to know Nantucket.

 

It’s a magical place with, among many other things, beautiful beaches, delightful activities for children, great seafood, and fabulous locations to read books (a key priority for the Verney family!). The island also provides a continuous opportunity to revel in the glorious gifts of nature, whether on land or in the ocean, day or night.

 

During our early years on Nantucket, we learned a lot about the island. We explored every nook and cranny of the island, and we devoured books in the Nantucket library. And, of course, we spent a lot of time in the two fabulous independent bookstores on Nantucket, inevitably heading home each year with a new stash of books.

 

But as mentioned above, I came to realize that there were lots of bunnies on Nantucket which inspired the story that just had to be set on Nantucket.  (That’s not to say that the Nantucket Bunnies will never travel to other locations; we have lots of ideas for future stories featuring the Nantucket Bunnies!)

 

Q: What do you hope kids (and adults) take away from the book?

 

A: I hope that kids (and adults) will take away several things from the story.  Most importantly, I hope that everyone will realize that it’s OK to be friends with those who are different from us.

 

I also hope that the story inspires folks to be mindful of taking care of others. However, we should also be careful to not jump to conclusions about the needs of others. 

 

Finally, I hope it inspires folks to visit Nantucket and go to some of the locations that are featured in the book, especially Mitchell’s Book Corner, which is a fabulous independent bookstore!

 

Q: What are you working on now?

 

A: I am working on a draft of the next Nantucket Bunnies book, which currently is titled Bunnies to the Rescue … Again! It will also take place on Nantucket and involves many animals and sea creatures, including a whale! When bunnies meet a whale, anything can happen!

 

Q: Anything else we should know?

 

A: I am filled with gratitude for Deborah Kalb giving me the opportunity to answer questions regarding Bunnies to the Rescue! And I deeply appreciate The Children’s Book Review co-sponsoring the Bunnies to the Rescue! Awareness Tour. Finally, I hope that everyone who reads the book enjoys spending time with the Nantucket Bunnies!

 

--Interview with Deborah Kalb. This Q&A was created in partnership with Jeff Verney. Enter for a chance to win a signed hardcover copy of Bunnies to the Rescue!, a plush blue bunny, and a $25 Amazon gift card.

Thursday, April 10, 2025

Q&A with John Van Oudenaren

 


 

 

John Van Oudenaren is the author of the new book The Geopolitics of Culture: James Billington, the Library of Congress, and the Failed Quest for a New Russia. It focuses on the role Billington (1929-2018), the former librarian of Congress, played in U.S.-Russian relations. Van Oudenaren's other books include Crisis and Renewal. He is a Global Fellow at the Kennan Institute for Advanced Russian Studies, and was director of the World Digital Library and chief of the European Division at the Library of Congress.

 

Q: What inspired you to write The Geopolitics of Culture?

 

A: I thought it was an important story that needed to be told.

 

The Library of Congress did amazing things in and with Russia under [James] Billington’s leadership: helping a major library in St. Petersburg recover from a devasting fire, preserving and making accessible to scholars through digitization and microfilming the records of the Soviet communist party and the international communist movement, launching large-scale exchanges of people and of books, organizing conferences, helping the Russians to create their first digital libraries, and jointly organizing film projects, concerts, exhibitions, and scholarly conferences.

 

These activities reached ordinary Russians and helped the Russian cultural sector get back on its feet after it was decimated by the collapse of the Soviet economy.

 

There was also a political reason for writing the book. Putin has cultivated a myth among the Russian people that in the 1990s the West, led by the United States, set out to destroy Russia and its culture.

 

This is of course not true. Western governments and organizations made enormous efforts in the 1990s and beyond to help Russia create a prosperous market economy and a stable political system. Mistakes were made, to be sure, but the claim that U.S. intentions were malign is a lie.

 

The Library of Congress wasn’t by any means the biggest provider of outside assistance to Russia, but it played an especially important role. It helped to preserve and showed respect for Russian culture at a time when many Russians felt humiliated by their poverty and when Russian economic, political, and military power was at a low point.

 

Gorbachev and Yeltsin both acknowledged what the Library of Congress had done, and Putin seemed to acknowledge it in the early 2000s, when he had several long meetings with Billington and the two men discussed Russian culture and identity.

 

But later, when Putin turned hostile to the West, he developed a mythology about Russia being a 1,000-year-old culture that the West is out to destroy and that Russia needs to “defend,” including through actions like the invasion of Ukraine.

 

I don’t know how and when the truths that I document in the book will make their way into Russia, but I am confident that someday they will, if they haven’t already. But the first step to having the truth known is to document it thoroughly with sources and evidence.  

 

Q: How did you research the book, and did you learn anything that especially intrigued you?

 

A: I started with published sources – newsletters, annual reports, press releases, and so forth, as well as Billington’s own voluminous writings, including his books, op-ed pieces in The New York Times, The Washington Post, and elsewhere, and his speeches, articles, and congressional testimony.

 

I also used a lot of unpublished archival sources – from various offices and divisions in the Library of Congress, the Billington Papers at the Library of Congress, as well as papers at the Reagan and Clinton presidential libraries, and at Harvard, Princeton, and Yale. I did interviews with former and current Library of Congress staff.

 

I was personally involved in much of what is covered in the book, so I drew on my own memory, but I always tried to check against written sources, because memory can play tricks.

 

Lots of things intrigued me. Personal relationships were interesting.

 

For example, the friendship between Billington and the poet Joseph Brodsky. Billington loved poetry, American and Russian, and he selected Brodsky to be poet laureate of the United States at around the time the Soviet Union was collapsing.

 

Billington was by profession a cultural historian, and he had great hopes that once the communists were gone a classical Russian culture would reemerge.

 

He saw Brodsky as the embodiment of this revived Russian culture, not only because of his poetic genius but because in the 1960s Brodsky had been the protégé of the two last great survivors of pre-Bolshevik Russian culture: the poet Anna Akhmatova and the writer Nadezhda Mandelstam, widow of the poet Osip Mandelstam who had died in the gulag.

 

Brodsky was flattered to be cast in this role, but he didn’t believe it for a minute. The correspondence between the men shows that Brodsky thought that post-communist Russia would be dominated by thugs and gangsters of various kinds – “city boys” he called them – rather than a revived Russian Orthodox Church, thriving rural communities, and a Russian cultural renaissance, such as Billington was hoping for. In this, unfortunately, Brodsky was right and Billington wrong.

 

Billington’s relationship with Nancy Reagan was another surprise. They had worked together on the June 1988 Gorbachev-Reagan summit, when he arranged her cultural program in Moscow and St. Petersburg. They kept in touch, and I found in his papers a copy of a long handwritten letter to her.

 

This struck me as a quaint reminder of a lost world: good penmanship. My handwriting is so bad I can barely leave a note for the dry cleaners, let alone write a long letter to a former first lady. But he seemed fine with sending it and she obviously read it and replied!

 

I guess the other surprise was to realize, belatedly, what a coherent world view Billington had – one encompassing culture, religion, politics, international relations.

 

I used to write a lot for him – mostly speeches and letters – and he was generally satisfied with what I wrote, because I understood his world view and could feed it back to him when he didn’t have the time to do the writing himself.

 

But it wasn’t until I sat down, amidst the pandemic, and read through pretty much everything he had ever written that I realized what a consistent, coherent world view he had, one that I guess he developed at Princeton and Oxford in the late 1940s and early 1950s.

 

The experience has made me think more seriously about intellectual biography as a genre and to wonder who else that I know or know of had this kind of unified world view.


Q: How would you describe James Billington’s legacy when it comes to relations between the U.S. and Russia, and what do you think he would say about today's interactions between the two countries?

 

A: Well, he got some things right and some things very wrong. He was obviously correct in warning, as he did in the 1990s and early 2000s, that the heavy focus of Western policymakers on economic reform – shock therapy, rapid privatization, and so forth – was discrediting the United States and dissipating the good will that ordinary Russians felt toward Americans after the fall of communism.

 

He was right to draw attention to neglected psychological and cultural aspects that Putin has since seized upon in a twisted way to stir up Russian hatred toward the West.

 

But he was clearly wrong about Putin. In the early days he argued that Putin was a kind of Charles de Gaulle – a patriot who would use nationalism and mildly authoritarian means to revive Russia and help it recover from national humiliation in the way de Gaulle had helped France after its defeat in World War II.

 

At most he warned that Putin might became (or might be superseded by) a Milosevic – the Serbian leader who exploited Serb nationalism to maintain his power. But as we now know, Putin turned out to be a thousand times worse than Milosevic – in the deaths and destruction he has caused and may yet cause as the war in Ukraine grinds on.

 

Were he alive today, Billington would be appalled by what has happened in Russia and at the state of U.S.-Russia relations.

 

He always saw post-communist Russia as engaged in a struggle between forces of light and forces of darkness, but he was an optimist by nature and believed that the forces of light would prevail.

 

But that clearly has not happened. What has happened – the invasion of Ukraine, the perversion of the Orthodox Church, the war crimes committed in Bucha and elsewhere, the murder of political dissidents and suppression of freedoms – is worse than the worst outcomes that Billington warned about in the 1990s and early 2000s and argued that Western policy needed to work to prevent. He would be very disappointed.

 

The positive legacy of Billington’s work is his teaching and constant reminders that in dealing with foreign countries we need to pay greater attention to cultural and psychological factors and to these countries’ histories and traditions.

 

We can’t just bribe or bomb or badger them into becoming liberal democracies as we tried for the first decades after the collapse of communism. But neither should we give up on trying to have a positive moral and political influence on the rest of the world, as seems to be the approach of the current administration.

 

Billington was always searching for a middle path between these two extremes – between on the one hand expecting everyone would eventually become just like us because of McDonald’s and the internet, and on the other of being indifferent to circumstances in other countries and maybe even preferring autocracies to democracies because they can be easier to deal with.

 

In the book I argue that these are lessons from his work that we need to incorporate into our foreign policy if we are to survive in this increasingly complex and in some ways more hostile world.     

 

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

 

A: Well, there are two parts to it – the “geopolitics” and the “culture.” Billington was part of that generation of American thinkers who had come of age during and just after World War II.

 

They were taught that the United States had fought two wars in the first half of the 20th century to prevent a single hostile power from dominating the Eurasian land mass and its industrial and population resources.

 

Woodrow Wilson had reluctantly entered World War I to prevent a German victory, and Franklin D. Roosevelt was determined to stave off a British defeat at the hands of the Axis.

 

The cold war that began in the late 1940s was yet another struggle to keep a single, hostile power – in this case the Soviet Union allied with China – from dominating Eurasia.

 

The United States won a spectacular victory in 1991 when the Soviet Union collapsed and the cold war ended.

 

But Billington always warned that there was nothing permanent about this victory and that the United States needed to head off the emergence of a new coalition of hostile powers, most likely comprising China, Russia, and some of the Islamic states, that would dominate Eurasia and threaten U.S. interests and security.

 

That was one reason why he was so committed to trying to build a democratic Russia friendly to the United States. Well, fast forward to the 2020s, and that’s exactly what has happened.

 

There’s no need to go into the details here, but somehow we have blundered our way from the overwhelmingly favorable position we inherited in 1991 to one in which we are facing what some are calling an “axis of autocracies” comprised of Russia, China, Iran, and North Korea. Billington saw this as a possibility and wanted to head it off.

 

The Trump administration is now trying to pry Russia away from China, much the way Henry Kissinger broke China away from the Soviet Union in the 1970s. In theory there’s nothing wrong with this idea, but I doubt it will work.

 

And if the price of winning over Russia is to sell Ukraine and Europe down the river, then it’s hardly a net gain – indeed it would be a major loss.

 

As for culture: Today’s geopolitical rivalry is mostly about hard economic and military power, but it does have a cultural dimension. The United States and its allies won the Cold War in part because they won the war of ideas.

 

They were able to convince the world’s people that the West stood for cultural and intellectual pluralism – for the free flourishing of different ideas, religions, and art forms – while the communists enforced a bland orthodoxy based on Marxist ideology.

 

Well, that script has now been flipped. Putin, Xi Jinping, and the ayatollahs of Iran have now assumed the mantle of cultural pluralism; they claim to be the protectors of ancient civilizations going back millennia, while the United States leads a decadent West that is trying to wipe out traditional cultures around the world and impose a sameness that flows out of Hollywood and Silicon Valley.

 

This view is of course nonsense – I don’t know enough about Iran and China to judge, but I do know that Putin’s version of Russian culture is a sham that chokes off genuine intellectual, artistic and religious freedom.

 

But there’s a lot of sympathy for this view, in the autocracies themselves, in the Global South, and unfortunately even in the West where some people are willing to overlook Putin’s crimes and see Russia as some kind of model civilization.

 

Billington (and a few other thinkers, for example the great Sam Huntington at Harvard) saw this coming and wanted to head it off.

 

Billington’s approach at the Library of Congress, which I happened to see firsthand, was to demonstrate to other countries and cultures that we respected them – that we were not out to impose a Western monoculture on them and that they did not need to turn to dictators to preserve values that they held dear.

 

It was an uphill battle, but we made a lot of progress in Russia – just not enough.

 

So that – geopolitical rivalry with a cultural dimension – is why I entitled the book the “geopolitics of culture.” In the concluding chapter I draw lessons from Billington’s thinking that we might apply in the future as we try to get out of our current geopolitical predicament.   

 

Q: What are you working on now?

 

A: I am writing a history of the Open World program, which is one of the programs discussed in The Geopolitics of Culture. It began as an exchange program that Billington initiated with the support of Congress in 1999, aimed at heading off the deterioration of U.S.-Russia relations that already then was underway.

 

The program ultimately brought 20,000 Russians in leadership positions to the United States. It later expanded to Ukraine and other countries in Eurasia and continues to this day (although without Russian participation) under the auspices of the Congressional Office of International Leadership (COIL).

 

Based on the earlier book, COIL has asked me to write a more detailed history of this exchange program, which I was happy to do.

 

The book will be a history, but I’m also trying to get at some broader, more conceptual questions: what role can people-to-people exchanges play in promoting U.S. interests overseas? What kind of exchanges (youth, professional, cultural) work best? How can we use exchanges to bolster countries such as Ukraine that are under attack by Russia, and what role might such exchanges play in rebuilding, down the road, some kind of relationship with a post-Putin Russia?

 

I’m also putting on my political science hat to do some work on Europe. I’ve written books on the EU in the past. The EU can be bureaucratic and boring, but it’s now getting very interesting as Macron, Merz, Starmer, and a few others are stepping up – working to ensure their security and their prosperity in what many are calling a post-American world.  

 

Q: Anything else we should know?

 

A: I would just like to thank this blog and Deborah Kalb for this opportunity to discuss this book. As readers who are book lovers and writers know, the economics of book publishing are pretty daunting these days, and anything that supports independent and academic presses ultimately helps authors.

 

The Geopolitics of Culture is available at Amazon, but a better bet is to purchase directly from Cornell University Press. Here is the link:

 

https://www.cornellpress.cornell.edu/book/9781501775765/the-geopolitics-of-culture/#bookTabs=1

 

By typing the discount code 09BCARD in at checkout, you take 30 percent off the price (electronic or print edition).

 

--Interview with Deborah Kalb

Q&A with Laura Julier

 


 

 

Laura Julier is the author of the new memoir Off Izaak Walton Road: The Grace That Comes Through Loss. Also an educator, editor, and chaplain, she lives in Iowa City.

 

Q: What inspired you to write Off Izaak Walton Road?

 

A: A series of random and serendipitous events unfolded, one after another, almost as if the universe was conspiring to create this opportunity for me to live in this old hunting cabin on a gravel road along a river south of Iowa City.

 

It was a place that grabbed me hard and pulled me in. Pulled at something deep inside me that I did not understand—and in fact, I realized I didn’t want to understand it at the time. I was powerfully swept up by the experience of living in this place.

 

Over the time that I lived there, I found myself attending more and more to the natural world around me, and it happened for some reason that during that particular winter, spring, and summer, conditions both environmental and human-made conspired to bring a surprising number of bird species.

 

I also found myself compelled to keep finding reasons and ways to return to live in this cabin for several months at a time, over six or seven years. I knew I wanted to write about the location, and I began with questions about what it was that called to me, why it felt like home when it bore no resemblance to any place I’d lived before.

 

So I began exploring: What is it that causes a place to grab hold of us? What is it about the places we feel rooted, grounded, nurtured—feel most ourselves or most connected to something larger than ourselves.

 

Over time, again because of both environmental and human forces and events, conditions in this area of land and river changed. Each time I was able to live there, I had to contend with loss and change, and so the heart of the book changed as well.

 

It became a story of confronting and living with losses of all kinds, and grief, and finding our way through that to a different understanding and to healing.

 

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

 

A: I knew from the minute I decided to take on this project that this would be the title. The book is about the time I lived off Izaak Walton Road, about the life that I observed and that I came to understand differently as time went on. It was just an obvious choice to me.

 

What quickly emerged the more I wrote was that this story has a lot to do with what’s hidden, what’s beneath the surfaces all around us. I followed that thread literally. I write about the life that takes place in the marsh and ditches, the unseen places in wild or undeveloped area.

 

There’s also a thread throughout the pieces in the book that has to do with experiences that are unspoken, and the currents of feeling and knowing that are apprehended outside of language.

 

There’s one moment when, as I am ending my stay at this cabin for a second time, I step off the road to allow a motorcycle to pass, and I’m standing in a field, about a foot lower than the road, which affords me a completely different perspective, a different angle to view what I’ve been observing and investigating for the season past.

 

It’s a very simple thing—one step—but a reminder that sometimes we have to put our feet literally in a different place in order to understand.

 

Q: The author Lacy M. Johnson said of the book, “Written with clarity, candor, and a tenderness of attention that is profoundly moving, this book shows the often-transformative power of loss, solace, and joy.” What do you think of that description?

 

A: It’s humbling for me to hear a reader name what they perceive about something I’ve written—what they receive from the experience of sitting with my words and sentences, with the object I’ve shaped and made.

 

 I am very grateful for Lacy Johnson’s words, and I’ve used her phrase—"the transformative power of loss, solace, and joy”—to describe the book to others. It’s somewhat like looking in a mirror: I recognize myself, but there’s some distance as well as recognition.

 

I was drawn to working as a hospital and hospice chaplain because I’m deeply moved by the ways that humans deal with loss and sorrow. It’s a part of the human condition that keeps pulling me. No one gets through life without loss, and the subtraction of a part of our life’s story changes that story.

 

So for me, loss and transformation are integral to the stories we tell about ourselves and our lives.


Q: What impact did it have on you to write this memoir, and what do you hope people take away from it?

 

A: I carried this project with me for quite a few years, and as I said, in some ways it kept evolving and shifting, although in other ways it had a life of its own. I learned a lot about my own creative process and about being patient.

 

During one part of the process, I only had to sit myself down and the pages emerged; after I had most of it compiled, I had to shift from being immersed in just getting it down on the page to shaping and orchestrating the shifts and focus, what I call the key notes or melodic line in each part, shaping how they unfolded in a sequence that wasn’t linear, was recursive in some ways, yet moved and evolved.

 

I’m not sure I ever thought about what I hoped readers would take away from the book—I was always more concerned about shaping and sculpting this object—but since it’s now out in the world, readers have taught me what they take from it, and that is frankly a part of writing that I didn’t anticipate.

 

Two things I’ve heard repeatedly. Several readers have told me they have to read it slowly, that the language is so dense and lyrical that it slows down reading the way that poetry slows you down. That is probably the highest complement to me, because I pay minute attention to syntax and nuance.

 

A few readers have told me they appreciate that it’s structured as mostly short pieces—two to three pages—so that it lends itself to being read in small bits of time. That’s interesting to me because I write and think with a lot of white space. In fact, people close to me would, I think, say that I live that way—I need a lot of silence and time to process sensory input.

 

The other thing I’ve heard is readers’ own stories about a place that grabbed hold of their hearts, and I appreciate listening to those stories. You live with a story for a long time, and you think you’re the only one who can tell it, explore it, unearth it—but then you pick your head up from the manuscript and discover all the ways that story resonates, and all the ways it’s a fundamentally shared story.

 

Q: What are you working on now?

 

A: I have several projects gestating right now. The one that’s closest to emerging is another subject I’ve written about, researched, and carried for several years. It too is in some senses about the way stories infuse and are shaped by a particular place.

 

The story of Hannah Duston, a woman who lived 400 years ago in New England, is a traumatic one, but it's not a story she herself ever told. We only know about her through the ways others shaped her story for their own purposes.

 

I’m interested in what emerges when we layer those stories, and in what it means to control the narrative of our own lives—if that’s even possible.

 

A second project I’m working on is inspired by the late writer Judith Kitchen’s Half In Shade, a memoir sparked by the evidence of family photos and her speculation about family relationships.

 

For me, it emerges from the same impulse as the 2022 documentary film Three Minutes: A Lengthening, in which a snippet of a 1938 home movie of a European Jewish village provides the beginning of a search to fill in the gaps of what happened to the people who appear in it.

 

Like many people, my knowledge of my elders and ancestors is very thin. It goes back two generations with a good amount of detail, then drops off precipitously leaving me with scant matter—one photo, a first name, and that’s about it.

 

In my case, I had an uncle who was a photographer in his early life, and he left hundreds of photos, including many of a summer he spent with his father and brother in 1936 in Poland.

 

You can see in both of these projects not only the ways that I’m drawn to examining the particulars of a place and how it impacts a life, as well as looking at silences and white space.

 

Q: Anything else we should know?

 

A: I’m heading off to the annual AWP conference, this year in Los Angeles, where I’ll be signing and reading from Off Izaak Walton Road, and excited to be reading at Broadway Books in Portland, Oregon, the following week. I’ll be at Schuler Books in Okemos, Michigan, in June.

 

I’m especially interested in how readers from very different parts of the country respond to the Midwestern-ness of the book. More readings and links to interviews will appear at laurajulier.com.

 

There are so many people who have contributed to helping bring this book into being and into readers’ hands, and I’m enormously grateful to all of them.

 

--Interview with Deborah Kalb