“Adverbicide” to be Published by The Woven Tale Press

I’m pleased to announce that my craft article “Adverbicide: Must Writers Eradicate Adverbs?” will be published on The Woven Tale Press website. Here is the log line: “Adverbicide: Must Writers Eradicate Adverbs?” challenges anti-adverb dicta by critiquing their roots and drawing on developmental psychology to help writers overcome prohibitions and inhibitions. The editors expect the article to generate a lively debate. I’ll post the link when the essay is published. Leave your comments on The Woven Tale Press website and here on my blog. Read more about my thoughts on writing in REFLECTIONS.

The Woven Tale Press is the premier online hub for literature and visual arts

Learn History Through Fiction: Hitler’s “Fancy Man” Henchman

Hermann Goering, Hitler’s Henchman, used the confiscation of Jewish property to amass a fortune, seizing art and other valuables for himself, and collecting bribes that allowed others to do so. Born to a wealthy father and peasant mother, he exulted in aristocratic trappings such as a coat of arms and ceremonial swords and daggers. He designed an elaborate personal flag that was carried at public events, and was known for his extravagant taste and garish clothing, including a medieval hunting costume and a russet toga fastened with a golden clasp. His car, a Mercedes 540K Special Cabriolet, nicknamed “The Blue Goose,” had special features such as bullet-proof glass and bomb-resistant armor, and was modified to fit his girth behind the wheel. Dubbed “The Iron Man,” he didn’t mind jokes about his corpulence, taking them as a sign of his popularity. Read more about Nazi Germany and Hitler’s inner circle in A Brain. A Heart. The Nerve. (see NOVELS).

Hermann Goering, Hitler’s Henchman, looted Jewish artwork and other valuables
Hermann Goering loved pageantry and draped his considerable girth in costumes
A Brain. A Heart. The Nerve. (Alternative Book Press) by Ann S. Epstein

A Writer’s Obligation: Interest More Than Yourself

“For me, writing is really just learning about the things that interest me, and then trying to convince you to find them as interesting as I do.” — Susan Orlean on Twitter

Whether you write nonfiction (like the marvelous Susan Orlean) or fiction, the maxim applies. Good nonfiction writers engage readers in subjects they never thought they’d care about. Fiction writers, especially those who do extensive background research, are equally responsible for incorporating what they learn in ways that are integral to their stories. If we fail to generate that interest, the manuscript will be of interest to only one person — the writer. For more of my literary thoughts, see REFLECTIONS.

Nonfiction writer Susan Orlean can make any subject interesting

Learn History Through Fiction: Death Down the Elevator Shaft

During the 1911 Triangle Waist Company fire, two elevator operators, Joe Zitto and Joe Gaspar, each made 15-20 trips rescuing workers, nearly all of them immigrants. The elevators were meant to hold 15 passengers, but 30 or more piled inside. When workers on the 8th floor saw the elevator descend from the 10th floor without stopping for them, they broke the elevator’s glass door and jumped on top of the car. After the last descent, some desperate workers plunged down the empty shaft to their death. Read more about the fire and one immigrant survivor in Tazia and Gemma (see NOVELS).

In 1911 Triangle fire, desperate workers jumped down elevator shaft to their death
Tazia and Gemma (Vine Leaves Press) by Ann S. Epstein

Learn History Through Fiction: The Munchkin Herder

The task of assembling little people to act in the 1939 Hollywood classic The Wizard of Oz fell to Baron Leopold von Singer. In Germany, he had put together a troupe of touring “midgets” who took part in vaudeville shows all over Europe. He had bought some of them as children from their parents, who wanted to get rid of them. By 1938, he had gathered a stable of 100 tiny performers and was based in America. Singer was put in charge of all the Munchkins, looking after lodging, food, and attendance on set. Managing them was never easy. Many did not speak English and sang in thick German accents. The little people had no affection for him either. They claimed Singer stole a big percentage of their wages. Read more about the Munchkins and the making of the movie in A Brain. A Heart. The Nerve. (see NOVELS).

Baron Leopold von Singer helped hire and manage the Munchkins
The German troupe called “Singer’s Midgets” toured Europe before WWII
Many little people hired as Munchkins did not speak English
A Brain. A Heart. The Nerve. (Alternative Book Press) by Ann S. Epstein

What I’m Reading: Lost Children Archive by Valeria Luiselli

My Amazon and Goodreads review of Lost Children Archive (Rating 3) – Are We There Yet? Lost Children Archive by Valeria Luiselli is a road trip that reads in the disjointed manner in which I imagine it was written. Vignettes, composed at random, are pieced together haphazardly. There is no “aha” moment that eventually reveals the hidden rationale for their order. Although place names mark the journey’s progression from NYC to the Southwest, the chronology of scenes is otherwise interchangeable. The narrative begins with an enticing question: Will a blended family (mother, father, boy, girl) stay together? Alas, the story soon loses its way. While many of the incidents and conversations en route are interesting, they arise from the mind of the author, not the psyches of the characters. The whimsical observations of the five-year-old girl, in particular, are not credible as having originated with her. I soon asked: Are we there yet? After a while, I didn’t care when, or if, we arrived. To its credit, the narrative regains momentum at the end. Nevertheless, as a writer myself, I suspect this book was more engaging to research and write than it was to read.

Lost Children Archive by Valeria Luiselli is a disjointed and disappointing road trip
“Read everything … like a carpenter who works as an apprentice and studies the master.” – William Faulkner

Learn History Through Fiction: Navy Build-Up to World War II

During the Depression, the San Diego Naval Base used money from the federal Public Works Administration to expand the Pacific Fleet to 48 warships, 400 naval aircraft, 55,000 sailors and 3,000 officers. The goal was to demonstrate U.S. sea power and show Japan and the rest of world that the country was interested in and ready to defend the Pacific. Today the U.S. Navy has over 400,000 active personnel (nearly one-fifth women), 490 ships, 41 aircraft carriers, nearly 4,000 aircraft, and 135 bases in the U.S. and abroad. Read more San Diego and Navy history in Tazia and Gemma (see NOVELS).

U.S. Naval Base in San Diego prepared to defend the Pacific in WWII
Nurses in uniform at the San Diego U.S. Naval Base in 1944
Tazia and Gemma (Vine Leaves Press) by Ann S. Epstein

Learn History Through Fiction: Nevermore at Poe Cottage in the Bronx

While researching a story about a (fictional) 1910 poetry class at the Bronx branch of the Henry Street Settlement, I remembered the Edgar Allan Poe Cottage that I used to pass when, as a child in the 1950s, I rode the bus to Fordham Road. The simple, white house had a raven painted outside one window. As I looked into the background of the cottage for the short story, I discovered that Poe did not actually write “The Raven” while living there. He wrote that poem earlier, when he lived in Manhattan. However, during the years (1846-1849) that he, his wife Virginia, and her mother Maria, lived at the house, Poe wrote “Annabel Lee” and “Ulalume.” They loved the small, rustic place, of which a friend wrote, “The cottage had an air of taste and gentility… So neat, so poor, so unfurnished, and yet so charming a dwelling I never saw.” The Bronx was still quite rural at the time and the family is said to have kept songbirds in cages on the porch. Virginia died there of tuberculosis in 1847 in her first-floor bedroom, and Poe died in 1849 while visiting Baltimore. Maria moved out shortly thereafter. Poe Cottage was recognized as a landmark in the 1960s. Presumably (I have not been back to look), fact checkers at the Bronx Historical Society have removed the raven, nevermore to be seen at the cottage window. Read more about my SHORT STORIES and interesting background details in BEHIND THE STORY.

Poe Cottage in the Bronx where the poet lived 1846-1849
Virginia Poe’s bedroom at the rustic cottage

Learn History Through Fiction: Friends of Dorothy

Judy Garland, who played Dorothy Gale in the 1939 Hollywood classic The Wizard of Oz, was born Frances Ethel Gumm on June 10, 1922 in Grand Rapids, Minnesota. One-half inch shy of 5′ tall, the 17-year-old actress had to have her budding breasts strapped down to make her look like a 13-year-old in the movie. Not only was she a film heroine to the Munchkins, in later life Garland became an enduring icon in the gay community. In the decades before the LGBTQ movement, gay men referred to themselves as “Friends of Dorothy.” Read more about the movie and Judy Garland in A Brain. A Heart. The Nerve. (see NOVELS).

17-year-old Judy Garland played 13-year-old Dorothy Gale in The Wizard of Oz
Judy Garland, icon to the Munchkin and gay communities
A Brain. A Heart. The Nerve. (Alternative Book Press) by Ann S. Epstein

Learn History Through Fiction: Armour Meat’s Union-Busting History

A 1911 study of Armour Meats in Chicago (five years after Upton Sinclair’s exposé The Jungle was published) found that the average weekly pay for 10 hours a day, six days a week, was $9.50, whereas the living wage for a family of five, the average size at the time, was $15.40. But Armour swore it would pay whatever it wanted or close its factory doors. Armour successfully broke three strikes and blacklisted union leaders. Read more Chicago and labor history in Tazia and Gemma (see NOVELS).

Armour Meats in Chicago’s stockyards used its power to bust labor unions
Meat-packers were still overworked and underpaid years after The Jungle was published
Tazia and Gemma (Vine Leaves Press) by Ann S. Epstein