Archive for April, 2010

A portion of Peter Selgin’s response to Writer’s Digest question about the worst mistake a writer can make:

Perfectionism is certainly a mistake. If writers pay too much attention to their inner critics they will generate very little work. Move on; get it done. Stop “perfecting.” Let the next book (or story) be the perfect one.

Ain’t that the truth.  Click here to read the interview in its entirety.

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As its title suggest, Life Goes to the Movies blurs the line between reality and that which takes place on the big screen.  Peter Selgin’s second book of fiction—first novel—explores the delusions and detachments of its characters, as well as their search for identity in the midst of chasing their dreams, at an existential time in American history.

Set primarily in New York, following the Vietnam War, the novel stars Nigel DiPoli and Dwaine Fitzgibbon, two aspiring filmmakers who begin their journey together in art school.  While Nigel is the point-of view character, the story focuses on the antics and rantings of Dwaine—D for death, W for war, A for anarchy, I for insane, N for nightmare, E for end of the world.

Dwaine’s self-created acronym points to his tour of duty in Vietnam and how those events affected him.  Serving as a medic, he witnessed death first-hand and was unable to save the lives of men in his platoon.  Guilt and blame weigh on him following the war, and he refuses to share explicit details of the experience with Nigel, saying only that, “Vietnam was like an exploding dog.”

Dwaine constantly puts up walls, keeping Nigel at a close distance.  The information he’s willing to divulge—family history, for one—seems made up; or, at least, Nigel’s unable to tell if Dwaine’s quoting lines from movies or telling the truth.  This, however, doesn’t disparage Nigel.

His first glimpse of Dwaine evokes comparisons to the rough-and-tumble actors he grew up idolizing.  At this time, Nigel ponders, “There’s something altogether dark about him, what exactly I can’t say, but it’s darker than this sheet of paper I’ve just finished covering with charcoal.” The mystery of who Dwaine is and what he’s been through adds to the appeal.  Nigel follows him to skid row, Hollywood, and a number of low-paying, somewhat film-related jobs, chasing their dream of making movies that matter.

Through all of this, tensions—sexually, between the two of them, and competitively, as they both are infatuated with the same woman—begin to grow and Dwaine’s charm seems to wear thin.  Their ideologies on life and film conflict, widening the gap between them.  Nigel believes a movie is an escape from reality, that its “purpose…is to make life less real, less boring.”  Dwaine, however, believes “movies should make life more real, less phony, that not only are they capable of changing the world, movies should change it.”

Nigel is conflicted about his place in the world.  He wants to stay in New York and live out his dream of making films with Dwaine, though he yearns for love and stability, too. Going back home to Connecticut seems to him like defeat, a cop-out of sorts.  On a visit to his parents’ house, his angst toward the malaise of living back in his hometown surfaces:

After two years in New York I found Barnum unbearable…Compared to those of New York, the streets of my hometown looked gutted and radioactive, as if a nuclear bomb had been dropped there, one of those bombs that levels dreams but leaves buildings and people standing…There was nothing worth filming here.

The writing in Life Goes to the Movie definitely fits the bill.  Selgin excels at blending cinematic imagery into a literary narrative.  Each chapter paints a vivid picture of setting, character, and action, setting the scenes with beautifully written establishing shots and smooth transitions that resemble fade-ins or slow dissolves.  It’s like watching a movie unfold on the page.

From his website:

Peter Selgin is the author of two books of fiction, including his first book of short stories, Drowning Lessons, which won the Flannery O’Connor Award for Fiction and published by the University of Georgia Press in 2008. His autobiographical novel, Life Goes to the Movies, was twice a finalist for the James Jones First Novel Fellowship, and second place winner for the AWP Award for the Novel, before being published in May of 2009 by Dzanc Books. Selgin is also the author of two books on the craft of fiction writing, including By Cunning & Craft: Sound Advice and Practical Wisdom for Fiction Writers (Writers Digest Books, 2006) and 180 Ways to Save a Novel: Matters of Vital Concern to Fiction Writers (forthcoming from Writers Digest Books, April 2010).

For more information and to read excerpts of his work, please visit his website.

New and Recent Releases

Posted: April 2, 2010 in New Releases 2010

Drowned Boy by Jerry Gabriel (1/1/2010)
Committed: A Skeptic Makes Peace with Marriage by Elizabeth Gilbert (1/5/2010)
Fun with Problems by Robert Stone (1/11/2010)
Where the God of Love Hangs Out by Amy Bloom (1/12/2010)
Monsieur Pain by Robert Bolaño (1/12/2009)
Bloodroot by Amy Greene (1/12/2010)
The Unnamed by Joshua Ferris (1/18/2010)
Wild Child by T. Coraghessan Boyle (1/21/2010)
Devotion by Dani Shapiro (1/26/2010)
Point Omega by Don DeLillo (2/2/2010)
Shadow Tag by Louise Erdrich (2/2/2010)
Secrets of Eden by Chris Bohjalian (2/2/2010)
The Immortal Life of Henrietta Lacks by Rebecca Skloot (2/2/2010)
Union Atlantic by Adam Haslett (2/9/2010)
Something is Out There by Richard Bausch (2/9/2010)
The Wife’s Tale by Lori Lansens (2/10/2010)
Other Americas by Richard Robbins (3/1/2010)
Requiem for the Orchard by Oliver De La Paz (3/1/2010)
Aliens in the Prime of Their Lives by Brad Watson (3/22/2010)
Solar by Ian McEwan (3/30/2010)
Rock and Roll Will Save Your Life: A Book by and for the Fanatics Among Us by Steve Almond (4/13/2009)
Boys and Girls Like You and Me by Aryn Kyle (4/20/2010)
The Lonely Polygamist by Brady Udall (5/3/2010)
The Singer’s Gun by Emily St. John Mandel (5/4/2010)
The Wilding by Benjamin Percy (9/28/2010)
Crooked Letter, Crooked Letter by Tom Franklin (10/5/2010)

I’ve searched high and low for an interview with C.E. Morgan about writing, but there aren’t many conversations with her on the web.  Click here for a quick Q&A with the writer at January Magazine.

Morgan, on her picks for the novel’s soundtrack:

A playlist for the novel might have provided a list of the best acts working in contemporary bluegrass, because the work is set in East-Central Kentucky where bluegrass is ubiquitous (as well as old-time, gospel, and country). Or, because the protagonist of the novel is a pianist, it could have been a ‘best of’ primer for solo piano- a bottomless well of a repertoire, one easily dipped into with something like the Moonlight Sonata (speaking of ubiquitous), but a little more challenging to explore in a comprehensive manner without guidance.

To see the set list over at largehearted boy, click here.

To hear Morgan read an excerpt from All the Living, click here.