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Posts Tagged ‘Allen Mendenhall’

Allen Mendenhall Interviews Julia Nunnally Duncan

In Arts & Letters, Creative Writing, Humanities, Literature, Poetry on April 3, 2013 at 8:45 am

Julia Nunnally Duncan

This interview originally appeared here at Southern Literary Review.

AM: Thank you for taking the time to do this interview, and congratulations on your forthcoming book, Barefoot in the Snow. This is, I believe, your third collection of poetry. How does this one differ from your earlier books of poetry?

JND: Barefoot in the Snow reflects a more mature vision and perspective of events and people because these poems were mostly written in the past two or three years. Some poems in this collection, such as “His Hands” and “My Uncle’s Grave,” took a longer time to germinate and more courage to share. I can’t imagine having tackled these poems earlier in my life.

AM: T.S. Eliot once said that genuine poetry can communicate before it is understood. Do you try to communicate with readers, or do you write for yourself? The answer to that is probably both, so let me rephrase the question this way: do you have a particular audience in mind as you write poetry, or are you more consumed with the craft, with “getting it right,” so to speak?

JND: Unless I am writing for a specific magazine theme or contest, such as the poem “My Mother’s Elm” that I wrote to submit to the Joyce Kilmer Poetry Contest (and for which I was thankfully named a winner), I write only with the intention of composing the most honest and polished piece I can. But even with “My Mother’s Elm,” the poem took over once I started it, and I forgot the contest until I finished it. My goal was, most importantly, to capture a particular tree’s place in my childhood and to select my most poignant associations with the tree.

AM: Why do you write poetry?

JND: To capture memories, to record reflections, and to work out intellectual and psychological puzzles and give them tangible form that others might recognize and be moved by.

AM: You have written in a variety of genres. Which comes easiest for you?

JND: A poem is easiest because, in general, it takes shape and is completed more quickly than a short story, an essay, or a novel. I have also discovered that my poems tend to find a readership more quickly too. My novels might have garnered me wider recognition and usually more regional response, but poems have allowed me more comfortable expression of what’s in my heart.

AM: Do you find that poetry demands a certain economy of language that sets it apart from other forms of writing?

JND: By the nature of the poetic form—the condensation of language and attention to rhythm and line structure—I would say yes. However, my poems are narrative, often telling stories, so they’re somewhat similar to my prose. I think my prose is lyrical, too.

AM: Who are the writers that have influenced you, and to which writer would you say you owe the greatest debt?

JND: My first response to this question is always D.H. Lawrence, mostly because of his novel Sons and Lovers, which was the first work of his that I read as a young teenager. At that time, I was moved by the romance, especially between Paul and Miriam, but now when I read it as an adult, it’s obvious that the relationship between the son and his parents and the dynamics between Paul’s parents are most compelling and what have affected me.

The English midlands setting of Lawrence’s work, especially as described in Sons and Lovers, has always reminded me of my Western North Carolina landscape, particularly as it was in my childhood. Lawrence’s boyhood coal mining village of Eastwood is reminiscent of the Clinchfield Cotton Mill village where my mother grew up.

As far as poetry goes, Dante Gabriel Rossetti’s “Alas, So Long!” is a favorite, and Poe’s “Annabel Lee,” with its internal rhyme and alliteration—devices I use in my poems—has no doubt influenced me.

AM: Tell our readers where they can buy your latest book.

JND: Readers can order Barefoot in the Snow from the publisher World Audience Publishers at www.worldaudience.org. Online distributors such as amazon.com will also offer my book. If readers are interested in getting a signed copy, they can check my web page at www.thereadonwnc.ning.com/profile/JuliaNunnallyDuncan for an ongoing schedule of my appearances in WNC.

AM: Thank you, Julia, for taking the time to do this interview, and best of luck with everything.

JND: Thank you, Allen, for allowing me to share this information about Barefoot in the Snow and for giving me the opportunity to reflect upon my life as a poet.

To Educate in the Permanent Things

In Arts & Letters, Books, Essays, Fiction, History, Humanities, Literary Theory & Criticism, Literature, Politics, Walt Whitman, Western Philosophy, Writing on March 20, 2013 at 8:18 am

Allen Mendenhall

This article originally appeared here in The American Spectator.

In his State of the Union address last month, President Obama proposed changes to preschool, high school, and college education, respectively. His proposals generated praise and condemnation from the predictable cheerleaders and naysayers. Some celebrated his efforts to expand early childhood education; others suggested that he should have focused more on the student loan crisis; still others, not to be outdone, pointed to school funding, teacher salaries, grading, standardized testing, technology, and foreign study as the pressing issues that he neglected to address with sufficient detail.

Everyone, it seems, has an opinion about how to improve American education from the top down. But positive change rarely happens through centralized design; it arises spontaneously through the interaction of human agents operating within and among social groups. The State cannot plan and then promulgate a proper education, and legislative enactments cannot reflect the mores and traditions of local groups with differing standards and expectations. The most prudent and humble proposals for improving education are not couched in statist, Platonic terms about civic education and human perfection; instead, they approach learning modestly, on the individual level. They entail the everyday interactions between teachers and students. They are not stamped with the approval of politicians, unions, think tanks, or interest groups.  They take place in the classroom, not the public square. A teacher anywhere, whatever his station, school, or background, can implement them in his course without disrupting the pace or provoking the ire of the educational establishment. The best of these, because it is so easily executed, is simply to teach what T.S. Eliot, and Russell Kirk after him, called “permanent things.”

The permanent things are the inherited principles, mores, customs, and traditions that sustain humane thinking and preserve civilized existence for future generations; their canonization in literary, philosophical, religious, and historical texts happened and is happening in slow degrees. We can trace the permanent things through curricula that emphasize the ultimate values of prosperous societies. An informed, laborious study of the perennial themes and archetypal patterns in what are variously denominated as the Great Works, the Western Canon, or the Classics can help us to organize and make sense of the permanent things. There are those who would object that this approach seems too hopeful and ideal. But no one has suggested it as a panacea, of which there are none, and anyway, is there a proposal that could be simpler, more straightforward, and more workable than assigning and discussing the Great Works?

As early as 1948, Eliot remarked that “there is no doubt that in our headlong rush to educate everybody, we are lowering our standards, and more and more abandoning the study of those subjects by which the essentials of our culture—of that part of it which is transmittable by education—are transmitted; destroying our ancient edifices to make ready the ground upon which the barbarian nomads of the future will encamp in their mechanized caravans.” It might be asked just who these barbarian nomads are and why we ought not to welcome their cultural practices and assumptions. The barbarian nomads could be, I think, any group lacking in historical perspective and mostly ignorant of the illuminating continuities that have guided our weightiest and most imaginative thinkers. The practices and assumptions of these nomads are not grounded in lived experience but aimed at utopian projects such as ensuring equality, creating fundamental rights, or eliminating poverty, and, to the extent that these practices and assumptions deviate from enduring norms, they cannot be said to have flourished ever.

To study the permanent things, on the other hand, is to consider the prevailing and profound ideas from certain times and schools in relation to other such ideas from various times and schools throughout successive eras. It is to map the course of perennial ideas to examine how they apply to different settings and generations. It is both sequential and diachronic in its approach. Its chief benefit is to put ideas into context, which is to say that it is to make us aware of our own presuppositions and perspectives that necessarily arise from our social, cultural, and historical situation.  Each thinker lives in his own specific era and place and cannot gain knowledge in a vacuum outside of time; our era and place shape the manner in which we think and restrict our ability to imagine conditions beyond our immediate and tangible experience.

This is not to submit that our ideas are determined for us, only that we enter into experience with certain perceptions that we have no control over. They are there because of the conditions present at the time and space in which we exist.  A sustained study of the permanent things will show us that our perceptions are not totally alien from those of our predecessors, although the respective perceptions are different. It also teaches us to compensate for our prejudices and to avoid thinking that our necessarily limited perspectives are unconditionally true and universally acceptable, even if they have verifiable antecedents. It reveals, as well, that schools of thought cannot simply be deemed later versions of earlier schools just because the two are in agreement about certain points. Finally, although we cannot escape those presuppositions that are embedded in our thought and culture, being alert to their probable existence can counteract their possible effect.

A rigorous study of the permanent things provides a lodestar for evaluating particular ideas against that which has been tested and tried before. Ideas that seem new always have traceable antecedents, and individuals equipped with a fundamental knowledge of the permanent things are able to situate purportedly novel ideas alongside their forerunners. These individuals recognize that change is not always progress; sometimes it is decline, deterioration, or decay. Only a sense of the continuities of history and thought can demonstrate the difference. Our political pedants in general and President Obama in particular insist on recognizing and implementing new institutions as if a radical departure from historic standards and established customs is itself the mark of good and lasting policy. Yet the permanent things show that even the most exceptional thinkers, those who represent the spirit of their age, whatever that might have been or might be, are part of a greater tradition.

It may be true that to study a particular thinker’s cultural milieu and biography is requisite to placing his ideas into their proper context and to highlighting the unacceptable premises of his philosophy; nevertheless, cautious interpreters ought to consider whether his thoughts necessarily lead to certain consequences, or whether the events that seem related to his thoughts arose accidentally, apart from his philosophy. Put another way, the cautious interpreter must carefully consider causation: whether theories actually generate particular circumstances, or whether those circumstances would have come to pass regardless of what the thinker spoke or wrote. Mussolini, for instance, praised William James, but it does not follow that anything James said or wrote endorses or enables fascism. He who would suggest otherwise betrays an ignorance of James’s work. The permanent things can help us to distinguish the true forms and implications of an individual’s thought from their appropriations by hostile forces.

By studying the permanent things, moreover, we learn that we cannot achieve the proper education through mere funding; nor does the solution to schooling gridlock and setbacks come from student aid, dress codes, student evaluations, tuition, or whatever. These issues begin to seem fleeting and trivial to one with an historical sense. They are at most temporary struggles, and although they are important, as all struggles are important, we are not to subordinate liberal learning to them. The best way to achieve the liberal learning necessary to make important and meaningful distinctions about our complex world is, as I have suggested and as it bears repeating, through a holistic, painstaking exploration of the permanent things. This means not only reading the Great Works for their content, but analyzing them in light of their place in history.

The beauty of this approach is that anyone can carry it out; the wisdom of it lies in its civilizing effects. Whether one is a homeschooling parent, a public school teacher, the leader of a local book club, or simply a curious-minded autodidact, the permanent things are available to him in texts, waiting to be sifted through and analyzed. It is true that there is disagreement as to what constitutes a Great Work and by what criteria, but it does not take more than research and commonsense empiricism to discern which pre-twentieth century texts have withstood the test of time. Teaching the permanent things does not require a large-scale, bureaucratic, administrative overhaul. It does not demand central planning or the implementation of mass, curricular programs; it can be accomplished through decentralized networks of concerned individuals. If parents would teach their children, friends their friends, colleagues their colleagues, and so on, we would in the aggregate become a more literate, astute, and informed society. And as our politicians lecture us about our duties even as they demand our money, we can take comfort in the proverb that these things too shall pass.

Allen Mendenhall Interviews Jeffrey Tucker

In Arts & Letters, Austrian Economics, Creativity, Economics, Humane Economy, Humanities, Liberalism, Libertarianism, Literary Theory & Criticism, Literature, Philosophy, Writing on March 26, 2012 at 1:00 am

Jeffrey Tucker is the publisher and executive editor of Laissez Faire Books. He is the author, most recently, of Bourbon for Breakfast: Living Outside the Statist Quo (2010) and It’s a Jetsons World: Private Miracles and Public Crimes (2011). The former editorial vice president of the Ludwig Von Mises Institute, he is an adjunct scholar with the Mackinac Center for Public Policy, a research fellow with the Acton Institute, and a faculty member of Acton University.

Q: Jeff, this interview is exciting for me. It’s something of a reversal of the interview that we did together in January 2011. This time, I’m interviewing you. I’d like to start off by asking about your two recent books, Bourbon for Breakfast and It’s a Jetsons World. Tell the readers of this site a little about both books.

A: Both books cover the unconventional side of private life as governed by the market and human volition. I guess you could say that this is my beat. I’m interested in the myriad ways in which the government’s central plan — and there is such a thing — has distorted and changed our lives, and also interested in the ways we can get around this plan and still live fulfilling lives. I take it as a given that everything that government does is either useless or destructive or both. The government does a tremendous number of things, so this is a huge area. Bourbon is more focused on the rottenness of the state and its harm, while Jetsons is more the marvelous things that markets do for us. Neither subject gets the attention they deserve.

Q: These books are available in PDF format online. Explain why you’ve chosen to make your work freely and widely available.

A: Every writer wants to be read, so it only makes sense for all writers to post their material. Of course publishers tend to intervene here with promises of royalties in exchange for which you become their slave for the rest of your life plus 70 years (that’s when they dance on your grave). This is the essence of copyright. It is a bad deal for writers. Those who go along with it these days nearly always regret it later. If they actually earn royalties — and very few actually do — it is likely they would have earned more had the material not been withheld pending payment. The bestselling books of 2012 — the Hunger Games series — are posted by pirates everywhere, even against publisher wishes. But, you know, this is starting to change. Publishers are gradually seeing the point to posting material online. Sadly, they aren’t budging on the copyright issue, which is really pathetic. No libertarian should ever publish anything with any institution that is not willing to embrace a very liberal policy on reprints, and one that is likely enforceable such as Creative Commons – Attribution. Meanwhile, the government is using copyright, a phony form of property rights, to step up its despotic control over the digital age. The situation is extremely dangerous. One hundred years from now, they will be laughing at our times and poking fun at how the anachronistic state tried its best to thwart progress.

Q: You strike me as an optimist. Is that true?

A: Not as a matter of principle but there are certain rational reasons to be very hopeful about the future. The future is always uncertain except in this one sense: it will be different from today. The state is very bad at managing change. Freedom is very good at managing change. Freedom is a form of play, a relentless process of adaptation, trial and error, of testing and pushing out the boundaries. Freedom is really marvelous at implementing an infinite world of ideas, whereas the state pretty much has only one idea: push people around. This is why freedom always ends up outrunning the ability of the state to manage it. Freedom is smarter, and connects more closely with human ambitions and dreams, and this is especially true in a digital age. For this reason, I think we have reason to be full of confidence and hope.  

Q: After a long tenure at the Ludwig Von Mises Institute, you recently became publisher and executive editor of Laissez Faire Books. A lot of people are anxious to see what you’re going to do with that enterprise. What can you tell them at this point?

A: Well, I’m glad to report that we are selling books and that’s fantastic. We also have some two dozen books in the process toward publication. I’m being pretty fussy with the books overall, commissioning excellent introductions and writing all sort of editorial prefaces and things. As we approach summer, you will see many more wonderful things happen, things that have never been done before, but I think I’ll let the details be a surprise.

Q: What is Laissez Faire Books? Many readers of this site are probably unfamiliar with it.

A: The company has this brilliant history that traces to 1972. Murray Rothbard was in many ways at the center of its founding but there were also many Randians involved. Between that point and the digital age, it was the main way that people received libertarian literature. Oddly, one thing I’ve noticed since coming to work here is that the “curator” role is still something that Laissez Faire can play. If we can guarantee a certain number of sales on a particular book, we can make the difference as to whether it is published or not. Much to my surprise, this seems to be happening already.

I’m extremely pleased that Agora Financial took over LFB in 2011. Agora is a for-profit company with offices all over the world, and the firm has a dynamic ethos that embraces commerce, change, and progress. The past is just data in a company like this, while all the energy action is in the future. As you might imagine, I like this environment. It is a natural home for me.

Thank you so much for taking the time, Jeff. Is there anything else you’d like to say before we conclude?

A: I have a strong sense these days that libertarianism, broadly considered, is undergoing huge changes in strategic outlook, and I’m happy about that. We are moving away from the “movement” mentality of the analog age and into a broader sense of the global universe of ideas. This means taking more risks, exploring more areas, and generally having more fun than ever. It’s a good time to love liberty.

Thank you so much.  This was really great, and I hope we can do it again.

Allen Mendenhall Interviews Julie Cantrell

In Arts & Letters, Book Reviews, Creative Writing, Fiction, Humanities, Literature, News and Current Events, Novels, Southern Literary Review, The South, Writing on February 29, 2012 at 6:10 am

Julie Cantrell was editor-in-chief of the Southern Literary Review.  She teaches English as a second language to elementary school students and is a freelance writer who has published two children’s books. Julie and her family run Valley House Farm in Mississippi.  Her first novel, Into the Free, was released by David C. Cook in 2012.

 

Julie, so glad to be doing this interview.  First of all, congratulations on the publication of Into the Free, which, at the moment, is number 23 on the Amazon Kindle bestseller list.  What does it feel like to have completed your first novel?

It’s amazing! The entire journey has been joyful for me, but to see it reach readers across the world is incredible. Having it become a bestseller is simply surreal. I admit I’m a bit numb watching it climb the charts, and I keep thinking it will end in a few minutes – a strange little bubble of joy that is about to pop. For that reason, I’ve been doing the happy dance nonstop and am just going to enjoy the fun while it lasts.

The main character of the book is Millie Reynolds.  How did you come up with Millie?  Did you know what she would be like—her personality, her attitudes, her struggles—before you started writing, or did she sort of come to you as you worked?

Well, to be honest, I never intended to write from a child’s point of view. I originally set out to write about the “Gypsy Queen,” but it just wasn’t the voice I heard. Then I saw a scene of a poor, depressed woman standing on a porch watching the Travelers leave town. She wanted to leave with them, but she was too afraid to take the first step. So I sat down to write her story, but it wasn’t her voice I heard either. Instead, Millie sat in her tree and told me her story. I know it sounds kooky, but I guess I just have a very vivid imagination. I’m happy to introduce Millie to readers, and I hope they love her as much as I do.

You once told me that you had two kids, four cows, three goats (two of which were then due with babies that you’d have to bottle feed), two dogs, two cats (one stray that arrived pregnant), a horse that likes a lot of attention, a flock of hens, a newly arrived carton of chicks, a husband, and a full-time job as a speech therapist.  How did you ever manage to finish writing Into the Free

It sounds crazy, doesn’t it? In fact, we’ve grown bigger since then! I still work in an elementary school, but now I teach English as a Second Language, so I was able to reduce my hours to part-time this year. With a full-time farm, a teaching job (which is never really part-time, as any teacher will tell you), two kids, a wonderful hubby, freelance gigs, and an active community life, we stay very busy. I usually write between the hours of 3 am and 5 am, when the rest of the world is sleeping. I just love it more than sleep.

Tell us a little about your choice of setting for the novel?

I am a southern girl, through and through. I spent my childhood in Louisiana before leaving the south after graduate school. I loved living in various states across the country, but our family relocated to Mississippi seven years ago, returning to our southern roots. I find this state incredibly rich with everything needed to whip up a story. I never considered setting it anywhere other than Mississippi. However, I like to mix things up a bit, so let’s see where the sequel takes us.

Any advice for aspiring novelists who might come across this interview?

Yes. I say, Go for it! If writing is what you love, be willing to make sacrifices to keep that in your life. Only you know what you were born to do, and only you know how to live the life that makes you happy. Life is short. Choose wisely.

Thank you, Julie.  This has been a great interview.  I’m thrilled to see the success of Into the Free, and I would encourage readers of this site to purchase a copy right away. 

Thank you, Allen. I am honored to be interviewed here on a site I have always loved. You’ve done a fabulous job with Southern Literary Review, and I know your readers all agree. Kudos!

Review of Lions of the West by Robert Morgan

In America, American History, Arts & Letters, Book Reviews, Historicism, History, Humanities, Nineteenth-Century America, Politics, Southern History, The South, Writing on January 31, 2012 at 6:46 am

Allen Mendenhall

This review originally appeared here at the Southern Literary Review.

Good histories don’t just tell stories; they make arguments.  Robert Morgan’s arguments in Lions of the West, subtle though they are, run as follows: historians and storytellers cannot help but view dramatic shifts of history as products of the actions of famous individuals; nevertheless, what happens in the course of history is attributable to numerous common folk acting independently and with disparate motivations.  Even the most comprehensive history cannot tell the stories of all these individuals, each of whom, in the narrative of the American West, could be numbered among the great “lions.” 

“While it is understandable,” Morgan explains, “that we see history mostly in terms of the deeds of a few, our grasp of what actually happened will be flawed and limited if we do not consider the story of the almost invisible many who made the notable deeds possible, even inevitable.”  Despite this claim, Morgan seems taken by the Great Man theory of history, and one of the epigrams to his book, which gets repeated in the Prologue, is Emerson’s remark that there is “properly no history; only biography.”

Morgan’s stated purpose is to “create a living sense of the westward expansion of the United States through brief biographies of some of the men involved.”  In realizing this goal, he offers a nod to other popular historians and storytellers such as Joseph J. Ellis, Gordon S. Wood, and David McCullough.  Each of these men writes histories free of the monotony and tendentious urgency of academic historians, yet each is also committed to facts and small details as indicia of greater narrative patterns. 

Morgan admits, as he must, that Lions of the West is, at best, “only a partial story.”  That’s not a shortcoming peculiar to Morgan’s narrative but a reality of human experience: all histories, like all memories, are partial.  Morgan himself submits that “written history is distortion through selection,” and that by its nature “narrative can represent only by implication, explicit about some parts, suggesting the many.”  No history could recount all the constituent parts that make up the whole; no history, in other words, could recreate the past.  For that reason, an author’s values and priorities are reflected in the subjects he or she chooses to undertake. 

Morgan’s values and priorities can be gleaned from his decision to profile ten individuals whose lives and toils characterize the American West in all its outlandishness and glory: Thomas Jefferson, Andrew Jackson, John Chapman (“Johnny Appleseed”), David (“Davy”) Crockett, Sam Houston, James K. Polk, Winfield Scott, Kit Carson, Nicholas Trist, and John Quincy Adams.  Of these, all but Chapman and Adams maintained significant ties to the South or would have considered themselves, or by others would have been considered, Southerners. Read the rest of this entry »

Allen Mendenhall Interviews J. Neil Schulman, Prometheus Award–Winning Author of Alongside Night

In Artist, Arts & Letters, Austrian Economics, Creative Writing, Creativity, Economics, Fiction, Film, Humanities, Imagination, Libertarianism, Literary Theory & Criticism, Literature, News and Current Events, Novels, Philosophy, Screenwriting, Television, Television Writing, Writing on January 17, 2012 at 9:00 am

J. Neil Schulman

J. Neil Schulman is a novelist, actor, filmmaker, journalist, composer, and publisher.  Among his many books are Alongside Night and The Rainbow Cadenza, both of which won the Prometheus Award.  Visit his website at http://jneilschulman.rationalreview.com/.

 

The following interview originally appeared here at Prometheus Unbound: A Libertarian Review of Fiction and Literature.

AM:  Right off the bat, it strikes me that I don’t know what to call you.  Will Neil work?

JNS:  Sure. It’s J. Neil Schulman in credits, and Neil in person.

AM:  Anyway, thank you for doing this interview, Neil.  You’ve had a fascinating and unique career.  You’ve written novels, short fiction, nonfiction, screenplays, and other works.  Which of your works is your favorite and why?

JNS:  Every artist gets asked this question sooner or later. I asked it of Robert A. Heinlein when I interviewed him in 1973, and his answer was, “The latest one I’ve been working on.”

I’ve only completed one movie so far — Lady Magdalene’s — so it’s a Hobson’s Choice on that one. Ask me again when I’ve made two! But a lot of people also seem to like the script I wrote for The Twilight Zone, “Profile in Silver.”

I’ve written three novels. My first, Alongside Night [editor’s note: free in pdf], seems to be my most accessible and popular. I consider my second novel, The Rainbow Cadenza, to be my most layered, literary, and richest in explicit philosophy. My third novel, Escape from Heaven, is my favorite. It may not be as timely as my first novel or literary as my second novel, but it’s the one that’s closest to my heart…both the funniest thing I’ve ever written, and the one which is most deceptively simple. It appears to be a lightweight piece of comic fantasy, but it’s full of ideas that if examined more closely turn both traditional theology and rationalist philosophy on their heads.

Short stories? I’ll pick a few: “The Musician,” “Day of Atonement,” and “When Freemen Shall Stand” — all in my collection Nasty. Brutish, and Short Stories — and my latest short story, “The Laughskeller,” published on my blog, J. Neil Schulman @ Rational Review.

AM:  Your worldview is, in a word, libertarian.  Why is that?  How does libertarianism come across in your writing?

JNS:  In my nonfiction essays it comes across explicitly. In fiction, drama, and comedy, I try to examine libertarian themes without preaching. I was probably most subtle doing this in The Rainbow Cadenza. The utilitarian politics advocated by the chief villain, Burke Filcher, is so self-consistent that a lot of readers have thought this character speaks for the author. In fact, I wrote the novel to attack utilitarianism as a nullification of the natural individual rights I believe in. The novel reduces utilitarianism to absurdity — it’s a formal satire of it.

Alongside Night is less subtle, though I’m probably more successful in the new movie script than the 1970s novel when it comes to letting the audience make up its own mind. I have learned some refinements of my craft in the last three decades.

Alongside Night by J. Neil SchulmanAM:  I recently noticed that you commented on a post at the Austrian Economics and Literature blog edited by my good friend Troy Camplin.  Tell me about the influence that Austrian economics has had on you.

JNS:  I would say that Austrian economics — and more fundamentally, the analytical tools of praxeology and games theory — have been fundamental to my work for my entire professional career. They’re not the only tools in my kit, but they get shopworn as much as any of them. Austrian economics is most explicit in Alongside Night, projecting the social and political consequences of fiat money hyperinflation — but I used games theory in plotting “Profile in Silver” and applied praxeology to the afterlife in Escape from Heaven. Read the rest of this entry »

Additional Thoughts on Gary W. Gallagher’s The Union War

In American History, Arts & Letters, Book Reviews, Historicism, History, Nineteenth-Century America, Slavery, Southern History, The South, Western Civilization on December 23, 2011 at 10:50 am

Allen Mendenhall

Recently I reviewed Gary W. Gallagher’s The Union War (Harvard University Press, 2011) for The University Bookman.  The review (“Why the Union Soldiers Fought”) is available here.  I have not said all I mean to say about Gallagher’s book, so this post records some additional thoughts.

I began my review with the tale of the “Lost Women and Children of Roswell.”  It was difficult as a child, knowing this story and others like it, to view the Union Army as completely righteous and pure, or to justify the eradication of certain evils like slavery with other widespread and destructive evils like war.  Despite being a Southerner with ancestors who fought for the Confederacy, I’m ambivalent about the War because of the various and totalizing perspectives that were thrust upon me when I was young, and because of my general opposition to war and nationalism, to say nothing of the complex figuring of race that played a defining role in bringing about the conflict.

As I went from middle school to high school, and then college to graduate school, the less likely I was to reduce the causes of the War to one or two factors, and the more likely I was to believe that anyone’s view of the War is already tainted by biases and assumptions.  Over time, I learned never to rule out alternate ways of viewing the War or the Confederacy.  I decided that no one would ever discover the intellectual trump card that would prevail over other viewpoints about the War that killed more men than all other wars in American history, combined.

There’s always more than one way of looking at a conflict, be it this War or some other one.  And our imperfect understanding of conflicts—of anything, really—always consists of generalizations based on the confines of personal experience.  We can read about the events encompassing the War, and we can guess at the logic and beliefs that explain those events.  But we can never relive the War or experience it in real time; and if we are honest, we must say that we can never read all there is to read about the period, never fully know the way a nineteenth-century mind thought, never entirely understand the quotidian realities of the men and women of all races at those times and in those places.  Being human, moreover, we make mistakes and assumptions.  Most of us revise our errors when we notice them.  But some don’t.  Some try to rationalize the logic of the unrealities to which they cling.  Read the rest of this entry »

Allen Mendenhall Interviews Ace Atkins

In Artist, Arts & Letters, Book Reviews, Creative Writing, Fiction, Humanities, News and Current Events, Novels, Southern Literary Review, Writing on December 12, 2011 at 8:46 am

Ace Atkins is the author of nine novels, most recently The Ranger and Infamous.  A former journalist at The Tampa Tribune, Atkins has been nominated for a Pulitzer Prize for his investigation into a 1950s murder.  He lives on a farm outside Oxford, Mississippi.

The following interview first appeared here at Southern Literary Review.

AM: What I suspect everyone wants to know is, how do you stay so prolific?  How do you write so much, so quickly?

AA: I’m very fortunate to be a full-time novelist. I’ve been writing full time since 2001 and that gives me the freedom to concentrate completely on my stories. Many terrific writers I know have to carve out time from from their jobs to work on a book. I am able to go to my office every day and work on that new novel. I feel pretty damn lucky and that in turn means I get to work on more projects.

AM: You seem to have located The Ranger in regions of the South that you know well.  Would you call this book “Southern literature”? 

AA: Absolutely. I don’t get into working in a certain genre—that’s up to readers and critics—and can hurt the writer and reader. My new series of novels could not be set anywhere else but the South and certainly centers on many Southern themes. I gain a lot of inspiration from the gritty world of Faulkner’s crime stories and turn my attention to the descendants of those people. 

AM:    I noticed that country music and country musicians appear throughout The Ranger.  Can you tell us about the significance of this to the novel?

AA: My first four novels were stylistically and thematically about blues. I always wanted to work on a novel that felt like an old Johnny Cash ballad—a solider returning home to town, unrequited love, guns and violence. I listened to a lot of Johnny Cash and also tons of Outlaw Country—Waylon, Merle, etc.—when coming up with the background of Quinn Colson.

AM: Who is Colonel George Reynolds?  I noticed his name in the Acknowledgments. 

George is the guy who saved my ass. I had contracted to write a novel about a U.S. Army soldier without knowing enough about the modern war in Afghanistan. Colonel Reynolds contacted me from Camp Phoenix in Afghanistan about signing a copy of my novel, Devil’s Garden. He offered help if I ever needed. It turned out, I needed help immediately. He offered terrific insight direct from the battle front and introduced me to the real Ranger who provided the background for Quinn Colson. 

I could not have written the book without him and he still provides me with a ton of answers to picky questions. Read the rest of this entry »

Allen Mendenhall Interviews Joyce Corrington

In Art, Arts & Letters, Creativity, Fiction, Film, History, Humanities, Information Design, John William Corrington, Law, Literature, News and Current Events, Novels, Philosophy, Screenwriting, Television, Television Writing, Writing on September 22, 2011 at 8:31 am

Joyce Corrington is a writer who, with her late husband John William “Bill” Corrington, wrote several films, including The Omega Man (1970), Box Car Bertha (1971), and The Battle for the Planet of the Apes (1973).  Also with Bill Corrington, she co-authored four novels: So Small a Carnival (1986), A Project Named Desire (1987), A Civil Death (1987), and The White Zone (1990).  She was head writer for such television series as Search for Tomorrow, Texas, General Hospital and Superior Court, and she has been a co-executive producer for MTV’s The Real World.  She holds a Ph.D. from Tulane University.  Her latest book, Fear of Dying, is available in both Kindle e-book and paperback format.  Formerly a Malibu resident, she now resides in New Orleans. 

Photo by Robert Corrington

Joyce, thank you so much for doing this interview.  I’m surprised we haven’t done one before.  You’ve been an enormous help to me over the years.  You even allowed me to stay at your home in New Orleans so that I could do research on your late husband, Bill.  During that time I learned that you hold a Ph.D. from Tulane University, and taught Chemistry at Xavier University for ten years.  Tell me, how did a person with that background become a writer?

I’m sure it would never have happened if I hadn’t met and married Bill when we were both at Rice University.  He was working on a doctorate so he could earn a living teaching, but he wanted to write.  Bill succeeded in publishing a number of well-received novels, which I typed and edited for him.  But we did not become co-writers until Roger Corman read one of Bill’s novels and invited him to write a movie script.  This was not something Bill especially wanted to do.  But it paid better than college teaching, so we evolved a film writing partnership, whereby I would create a detailed story structure and Bill would write a script following my outline.  After six films, we became involved in writing television series and continued our writing partnership there and in the four New Orleans mystery books we published.  Bill passed away as the fourth was being written, so I completed it.

Why did you choose to continue the series?

After Bill died I found it difficult to get the same kind of writing jobs we had been used to doing.  I think this was because all of my credits were as half of a writing team and producers felt uncertain whether I could do the job by myself.  Thus I had about two years where I had little to do and, while I read a lot during that time, I also began writing a sequel to our New Orleans mystery series.  I think I wanted to prove that I could do it by myself.  Just after finishing the manuscript for Fear of Dying, I was hired to help produce The Real World, a job which I held for eleven seasons.  I did not get around to publishing Fear of Dying until I retired from that job. Read the rest of this entry »

The Anthology of Appalachian Writers, Bobby Ann Mason Volume III

In Art, Arts & Letters, Book Reviews, Creative Writing, Creativity, Fiction, Humanities, News Release, Poetry, Writing on July 12, 2011 at 12:46 pm

Allen Mendenhall

Below is a news release for a volume that features my poem “Conversation on a Rail.”

News Release: The third volume of The Anthology of Appalachian Writers, Bobbie Ann Mason edition, is now for sale at the Shepherd University Book Store (see http://www.shepherdbook.com/).  This newest book in the collection  presents a selection of stories, essays, poetry, and photographic art, which provide readers with an extraordinary look at the language, storytelling, cultural traditions and heritage of Appalachians—Appalachians working and living in the region today and yesterday.         

As with each previous volume, a common center is provided by the literary art and talent of the 2010 Appalachian Heritage Writer-in-Residence at Shepherd University and recipient of the Heritage Writer’s Award—Kentucky writer Bobbie Ann Mason.  Mason’s work brings to literary life the common folk and the everyday working classes—living, learning, and trying to cope and survive in the complex world they find before them.  

The book also contains stories by two winners of the 2010 West Virginia Fiction Competition selected by Mason.  Mason wrote of Natalie Sypolt’s “Save the Lettuce”: “This is a tight, controlled, powerful story.  Nothing is overdone.”  Like Mason’s award-winning novel In Country, Sypolt’s short fiction piece is a powerful story about war without the war.  Read the rest of this entry »