Wednesday, June 21, 2023

A Conversation with J. A. Jance

 


LOWE:  Hi, Judy.  You've had two series going for quite a while.  The detective Beaumont series and the Sheriff Brady series.  Obviously the first is more popular with men, and the second with women. Or am I wrong about that?


JANCE:  Actually, J. P Beaumont may be more popular with male truck drivers, but I find the people I talk to–men and women both–pretty much evenly divided when it comes to preferring Beaumont to Brady.  And, as long as they read them both, I don't care which one they like better.


LOWE:  Gary Challender at Books in Motion, a mutual friend of ours, tells me that truckers are huge fans of Beaumont.  Have you had any feedback from truckers or from people listening to the audiobook versions in their cars?


JANCE:  Yes, I have heard from truckers.  Actually, whenever there's a blizzard on the east coast, I receive fan mail written on Motel 6 stationery from all up and down the eastern seaboard.  And, from what I can tell, they like the reader, Gene Engene, almost as much as they like the books themselves.  As for me, I think Gene Engene is pretty slick, too.  When I heard him read the first few lines of Until Proven Guilty, I was covered with goosebumps because his voice was just so right.


LOWE:  I agree with that.  Now, let's say you have an audience of men who like Beaumont so much that they're going to try Sheriff Joanna Brady for the first time, or vise versa.  How do you get new readers up to speed on the characters in a series without boring readers already familiar with the characters?


JANCE:   When it comes time to start a new book in either series, my job turns into a kind of tight-rope walk.  Knowing that I'll be meeting some readers for the first time, I have to include enough of the background so new readers will feel as though they've had access to the information they need to understand the characters.  The problem is, if I give too much background, my long-time readers will be bored and new readers won't feel compelled to go back and read the other books.  I try to sprinkle the background into conversation and action rather than devoting a lot of expository writing to it.


LOWE:   Brady and Beaumont get together in Partner in Crime, and are almost romantic.  I was wondering if you did that to merge your readership.


JANCE:   My readers have been suggesting a joint book for years while I resisted the idea.  Then my editor suggested it was time to put them together, and so I did.  It's usually best for writers if they listen to their editor's suggestions!   But, you're right.  It did merge my readership, and people who had read one series and not the other are now reading both.  So it turns out my fans were right and so was my editor.  I was the one who was wrong.


LOWE:  I've heard that you like to surprise yourself in writing a mystery, and that you don't outline, and sometimes don't even know who the killer is until the end.  Does this make it more fun for you to write, or is there another reason?


JANCE:   Not knowing what's going to happen makes the process of writing a book more interesting to me.  If I knew everything that was going to happen in a given book, I don't think I'd find energy enough or sufficient curiosity to finish it.  And yes, you're right.  I do hate outlines.  I've hated them from the first time I met them in sixth grade geography.  I wonder if there's a nice handy Greek word for someone who suffers from a phobia of Roman Numerals.


LOWE:  How about  Togaphobia?  What do you think of the narrators of your audiobook versions, and do you ever listen to audiobooks yourself on the road?


JANCE:  I like my narrators.  As far as the listening public is concerned, the readers are the characters.  As for listening to audio books, in October of 2001, in the aftermath of September 11, my husband and I had to drive from Seattle to Nashville and back by way of Tucson, Arizona.  The news on the radio was still totally focused on the terrible happenings in New York.  Finally, about the time we reached Dallas on our trip out, we went into a bookstore and purchased the first unabridged Harry Potter books.  Harry and his friends were our constant companions from then on.  We'd be in restaurants talking about the latest Quidditch match while the whole rest of the world was talking about Osama and his pals.  We finished the last of the four books as we crossed back into Washington State on our way home.


LOWE:  You grew up in Bisbee, which I've been to several times, as it's not far from Tucson.  What do you most like about the place?  And are you now what we call a "snow bird?"  Or should I say "Snow Bird of Prey?"


JANCE:   Snow Bird of Prey? That's incredibly cute and I think I WILL be one of those. Where can I get a license plate surround like that?  I'll put one on the Arena Red Porsche Boxster as I charge around Tucson this winter because yes, I am now an official snowbird.  I like Bisbee because it's a place apart. It's not exactly the same place it was as I was growing up there in the fifties and sixties, but it's not all that different. The Mule Mountains kept it out of the mainstream then and they do the same thing today.


LOWE:  Unlike Tucson, and our growing traffic problem. Does the character Beaumont in Partner in Crime like Bisbee or not?


JANCE:  Beaumont is from Seattle. More than that, he's from the Denny Regrade, which means he's uncomfortable once he gets out of reach of The Bon. He's not familiar with the desert, so of course Arizona makes him uncomfortable. His first impression of Bisbee is that it's terribly brown.  My first impression of Seattle was that it was terribly green.  I think we're both right.


Thursday, June 8, 2023

Barrett Whitener, Narrator


From the vault: Barrett Whitener is the award-winning narrator of "Catch Me If You Can," on audio from Blackstone.  The book was adapted into a Spielberg movie starring Leonardo DiCaprio and Tom Hanks, and is a fascinating memoir about a con artist who poses as an airline pilot.  


JONATHAN LOWE:  What is your background, Barrett, and how did you get started narrating books?


BARRETT WHITENER:  My background is in film study and stage directing.  In my twenties, I thought I'd be the next great great film critic -- the new millennium's James Agee or Pauline Kael.  I got a master's in film from an English university, during which I discovered I didn't want a career in academia.  There followed six years working in public relations, during which I occasionally hired myself to voice some commercials I'd written.  (Shameless of me, but good experience.)  I pretty much forgot about doing voice-overs, and returned to graduate school for a master's in fine arts in directing.  Luckily, among the directing courses, I was required to study voice.  The other stroke of luck was that the directing course brought me to Washington, D.C. for an internship at the Shakespeare Theatre.  A narrator-actor came to look at a room for rent in the group house where I lived at the time.  When I inquired about narrating opportunities, he said, "Well, I work for the Library of Congress, and they're looking for people right now.  Would you like to audition?"  They hired me, and it was the best possible place to start.  I learned so much about researching pronunciations, voicing characters, and so on.  It was like getting my third graduate degree -- one I've actually used.


LOWE:  How many titles have you recorded since then?


WHITENER:  I'm pushing about two hundred titles by now.


LOWE:  That's a lot, especially with so many unabridged.  Were you always a voracious reader, and did your family encourage you to read aloud?


WHITENER:  From as early as I can remember, I loved to read.  Comic books, cereal boxes, "real" books, anything.  My parents were avid readers, so I guess it just never occurred to me not to.  I don't recall anyone in the home encouraging me to read aloud -- they didn't have to.  From age eight or nine, I would make up stories and read them into a tape recorder, complete with my own canned laughter due to the sitcom influence.  By ten or eleven, I was dragging friends into the act, making my own little juvenile versions of Nichols and May skits. . .who am I kidding? . . .more like Cheech and Chong skits!. . .and putting them on tape.  And a couple of my English teachers were big on oral interpretation, bless 'em.


LOWE:   Maybe this explains your range of titles, from the bizarre "Villa Incognito" by Tom Robbins for Random House to "Catch Me If You Can" by Frank Abagnale.  Who are your favorite authors, and which genres have you most enjoyed recording?


WHITENER:  For pleasure I read mostly nonfiction. . .histories, biographies, art and cultural criticism.  Right now I'm on a jag of writers who cover our current international conflicts in some way, like Bernard Lewis, Paul Berman, Karen Armstrong.  When I do read fiction, I most enjoy the witty stuff with an edge. . .Philip Roth, Tom Robbins, Allan Gurganus.  That's my favorite genre to record, too, and "A Confederacy of Dunces" is my favorite book to have done so far.  The comic imagination behind it just doesn't quit.


LOWE:  Abagnale's book has some funny moments too.  Did you see the movie based on it, and what did you think of the story--is it exaggerated, or mostly factual, do you think?


WHITENER:  I thought the movie of "Catch Me" was terrific.  Spielberg showed an appreciation for the reckless, irresponsible daredeviltry of what Frank Abagnale did. It felt almost like a big-budget "Austin Powers" movie, though with far more lounge-era, Rat Pack style.  The amazing thing is how few of Abagnale's exploits were invented for the movie.  If anything, Spielberg played them down.  The episode of the European tour with the stewardess trainees, for instance, is even more jaw-dropping when you read the whole tale.  What the movie invents is the backstory of his father, presumably in an attempt to make Frank more sympathetic.  The book, on the other hand, makes him seem closer to an American pirate.


LOWE:  I understand that it was easier to con people back then, but his followup book "The Art of the Steal" also shows that we're still vulnerable, doesn't it?


WHITENER:  Yes, he points out that in some ways, we're more vulnerable than ever.  While it's harder for a crook to kite checks now than it was when Frank did it, he says that the computer age has made more serious crimes -- such as identity theft -- much easier.  Since I recorded that one, it seems as though I see a story on another identity theft in the news every week.


LOWE:  What do you see as the most difficult thing about narrating a book?


WHITENER:  The biggest challenge for me in narrating is also what makes it fun.  Keeping the arc of the drama intact.  Maybe my directing training pays off a little here.  It's important to know not only who each character is, but also how each one contributes specifically to a novel's conflict and central idea.  That all sounds very drama-major, I know.  But I find that when I'm very clear on those questions, the process flows better.  It can also be a challenge working alone, which I do much of the time.  I'm pretty gregarious by nature, so on breaks I'll go fire off some email, or call my friends and bug them at their "normal" jobs.  Of course, they think I've got it made, and they're probably right.


LOWE:  Describe the process for you, if you will, from preparation to execution.


WHITENER:  For fiction, I read the entire book before recording.  Depending on the piece, maybe I'll do some additional research on the period or setting.  Always I take notes on the characters -- accents, vocal or other traits the author specifies, my "feel" for them, maybe people I've known or met who they remind me of.  This task is essential if you try to give each character as distinct a voice as you can.  It also helps you avoid the nightmare scenario that once happened to a narrator I know, who got to the last page of a novel he hadn't researched, and there the author wrote for the first time that the hero had a "strong Scottish accent."  The narrator had given him no such thing, and had to go back and re-record the whole book!  For nonfiction, I'll give the book at least a close skim before starting.  For both fiction and nonfiction, I make a list of all words, including names, for which I need to find the correct pronunciation, and find those before I record.  That way, the recording can flow in as uninterrupted a way as possible.


LOWE:  Do you use your own studio exclusively, or do you travel much to record?  I met some narrators at the Audie awards, and noticed that they seem to know each other, and do cross paths at these events, and possibly in the studios too.  Are you friends with many other narrators, and who do you admire?


WHITENER:  Over half of my recordings are done in my home studio, which I've finally outfitted with Pro Tools recently.  I'm a one-man band. In the past couple of years, I've begun to travel fairly often for work too, which is great.  Someone else punches the buttons and does the editing, and I just do my favorite part, the reading.  Plus, I get to socialize between takes.  The narrating community is still fairly small, though less so now than a few years ago, when, because of the Library of Congress, the majority of audiobook readers in the country lived in the D.C. area. Even so, I've met many of the narrators from around the country at various conferences and events.  One of the best is right in my backyard, Grover Gardner. He sets a high standard for the rest of us.  He's got the true narrating gene.  And to my ears, Kate Fleming (a.k.a. Anna Fields) is one of the most outstanding women in the field.


LOWE:  I agree on that.  Now, you've won a "Voice of the Century" award from Audiofile, and some Earphones awards.  What are you most proud of, and how has the press treated you?


WHITENER:  I've been extremely lucky in my press.  As the audiobook industry has grown in the past decade, the reviews have taken on more significance.  Luckily, the reviewers seem to be generally well-read and well-informed.  "Voice of the Century" is quite a label to have hung around your throat!  For all the reasons I mentioned before, I was also gratified that Booklist included "A Confederacy of Dunces" on their "year's best" list.  I hope that encouraged some people to read the book in whatever format.


LOWE:  What's next on the agenda for you to record?


WHITENER:  After finishing your novel, next up for me are Spider Robinson's "Callahan's Key" for Blackstone Audio -- another of his fun, shaggy-dog sci-fi yarns.  And for Books On Tape, "Triangle" by David von Drehle, a powerful account of the 1910 Triangle Shirtwaist Co. fire in New York.  As projects go, they don't get much more varied than that.


LOWE:  Look forward to hearing those.  And, of course, the great thing about acting for a microphone is that, unlike Hollywood, they can't tell you that you're too old, meaning over 30!  So folks should be hearing from you for a long time to come.  Thanks, Barrett.


{Jonathan's suspense novel "Awakening Storm," from Blackstone Audio, is read by Barrett, and by Barry Abrams for Audible.) 

Tuesday, May 9, 2023

Once Upon a Time is NOW

                            



Shocking. Compelling. Intriguing. These and other adjectives could be used to describe the impressive rise in popularity of audiobooks, especially among those with “little time to kill.” Now a multi-billion dollar industry growing at a rate faster than print books, audiobooks combine the appeal of skillful storytelling with the freedom to do other things while listening to bestsellers. Things like walking the Swamp Rabbit trail, gardening, cooking, and driving. In any car or truck, there is the radio, of course, with Top 40 tunes and golden oldies playing endlessly amid all those annoying high pressure commercials. But at some point boredom sets in, the mind goes numb, and as the saying goes, a traffic jam is a terrible thing to waste.

     Many more people these days have tried audiobooks than, say, a decade ago, when Audible was newer. It’s now a billion dollar industry with top voice actors making up to $500 per finished hour. Here are some questions to ask. . .

WILL I ENJOY SOMEONE ELSE READING FOR ME?

You will, if you choose carefully or are willing to try new things. You could start with narrators who proved themselves over multiple decades, from the late Frank Muller to Barbara Rosenblat, George Guidall, Grover Gardner, Susan Toren, and Will Patton.

WHERE DO I FIND GOOD READERS?

Reviews are one option, but go to pro reviewers, not disaffected Amazon customers, who often review based on emotions unrelated to the text. The more you listen, the better you’ll appreciate what a voice actor can do to make a story come alive. Some turn it into an audio movie, with multiple readers, sound effects, and occasional transition mood music.

CAN I TRUST MAJOR BESTSELLER LISTS TO FIND A BOOK I’LL LIKE?

Yes and no. If you follow series and have preferred authors, you’ll likely get more of the same. But if you’re adventurous and seek out hidden gems like a good reviewer does, you’ll make discoveries and gain new satisfaction and insight.

WHAT ARE YOUR OWN HIDDEN GEMS?

There are many. If you like mystery, try James Lee Burke as read by Will Patton. Called the best living novelist by critics, Burke doesn’t do cliches. “He squealed like a stuck pig” would never occur to him. You’ll be squealing in delight and awe if he hear Purple Cane Road or Sunset Limited read by the perfect New Orleans accent. Or try Ross MacDonald. His “Sleeping Beauty” includes a full cast, with the likes of Harris Yulin, Ed Asher, and Stacy Keach. It has nothing to do with the fairy tale, other than a dream gone wrong. Rosenblat reads the Elizabeth Peters historical Egyptian mysteries. Actor Richard Poe reads Steinbeck, Cormac McCarthy, and Dan Brown. Emily Rankin reads “Before We Were Yours” by Lisa Wingate, set in Aiken, SC. Eckhart Tolle reads The Power of Now, which inspired my own recent “The Final Plot of Valerie Lott.” Alice Blanchard’s tornado suspense “The Breathtaker,” as read by actor Peter Coyote, will take your own breath away for originality! These are just a few of the classic audiobooks you’ve probably yet to discover.

Here’s a couple new releases:

SHUTTER by Ramona Emerson is read by Charley Flyte. It’s an odd novel, well written but more of a literary title than a thriller. It’s about a Navajo photographer named Rita who works for the Albuquerque NM police department. She sees some of the victims, and hopes to take their pictures but can’t. She doesn’t believe in God, but she believes in ghosts. The writing is superb, but can sidestep into personal matters since it’s written in the first person. She was discriminated against as a child, and learned to take photographs as an escape. Each chapter title is another brand of camera. She says at one point that she remembered upsetting her parents by never crying, just laying there staring upward, so they never knew when she was asleep or might be dead. She has an affinity to the dead, and one in particular is with her from beginning to end. Will it all be resolved in a followup novel? We shall see. Or rather hear. Charley Flyte is an excellent narrator, who captures the wordy images with a snap for each shot. 

Never thought I’d hear a book about aging that revealed so many things others hadn’t.  Not only do you learn which vitamins and supplements work and which don’t, but the interactions and reasons behind the confusion. Drug and hormone and stem cell research therapies aid the overall understanding needed to negotiate the sea of products and opinions out there, dazzling and blinding at the same time. What do you really need? A cogent, deciplined approach to the subject of aging survival geared to outsmart diabetes, cancer, heart disease, and dementia. Narrated by the always engaging LJ Ganser, CHEATING DEATH by Dr. Rand McClain is a must hear for everyone over fifty looking to beat the odds stacked against us all. Diet, exercise, and prevention, plus modern science testing and monitoring plus treatments add up to little if you don’t comprehend the big picture. Here is that moving picture. Rated GPG, meaning Grand Parents Guidance. 


Other recommended titles for first timers:


ANGELS FLIGHT by Michael Connelly, read by Burt Reynolds. Follow detective Harry Bosch through the seedy side of L.A. as he investigates a racially motivated murder.


HEARTWOOD by James Lee Burke, read by Will Patton. All of Burke’s books are masterpieces, including Sunset Limited, Cimarron Rose, Dixie City Jam, Heaven’s Prisoners, and Cadillac Jukebox. Best of all, narrator Patton is the perfect choice to read the series, capturing both the southern Louisiana accent and the very persona of detective-turned-bait-store-operator Dave Robicheaux to perfection.


VERTICAL RUN by Joseph Garber, read by Stephen Lang. Similar to the plot of the movie Diehard, the suspense never stops.


CARPOOL by Mary Cahill is a witty suburban housewife mystery.  In it, Jenny Meade comes across a corpse swinging from a tree during her hectic driving schedule. . . and gets a chance to fly again after being chased by criminals to the airport.  Read by Barbara Rosenblat and John R. Jones.  Another Recorded Books title you might rent is DRIVING FORCE by Dick Francis, read by Simon Prebble.  It’s a trucking company tale with plenty of action and intrigue. 


24 HOURS by Greg Iles is read by Dick Hill. When a young girl is kidnapped, her parents can’t go to the police. Hill deserves every accolade for his performance of a terrified child alone in the woods with a cell phone. If you have kids of your own, this is a story you’ll be thanking me and cursing me at the same time for steering you to. . . because all your fingernails will be gone by the end.  


Winner of an Audie for best unabridged fiction, THE BREAKER by Kit Denton will remind you of the movie Breaker Morant, and tells the story of Harry Morant, a tragic but charismatic adventurer who was executed in 1902 for the purported murder of civilians in the Boer War.  Flawlessly performed by Terence Donovan, every nuance and dialect is captured in this sweeping, compelling audiobook which takes the listener to Australia, South Africa, and beyond.  


Another Audie winner, and also titled THE BREAKER, is a mystery by Minette Walters, read by Robert Powell, about the investigation of a woman’s rape and murder.  You should know that this title beat out more popular titles by the likes of Grisham and company for the honor. Why? Because “popular” rarely means “best” anymore. Another title to look for at Chivers is A STAB IN THE DARK by Lawrence Block, superbly read by William Roberts. 


Michael Somers has returned to the Pacific Northwest to uncover secrets from his past.  No one trusts him because of a night of violence perpetrated by him years ago.  Then he rescues a wounded falcon, and while nursing it to health, befriends a lonely boy who hasn’t spoken a word since witnessing his father’s death in a hunting accident.  Now they face a hunter again, as they prepare to release the falcon back into the wild.  A first novel by Stuart Harrison, THE SNOW FALCON is about redemption and healing, and takes its lesson from nature itself.  Another excellent read by talented Dick Hill.


A romance with adventure in the mix by the author of Rebecca, here is the story of a pirate who wins the heart of Lady St. Columb in 17th Century England.  Read by a masterful English actor, John Castle, FRENCHMAN'S CREEK by Daphne du Maurier will be of particular interest to women tired of the empty soap operas seen on television.


ON THE ROAD by Jack Kerouac, read by Alexander Adams. This beatnik novel is a classic travelogue about self discovery. Alexander Adams is the pseudonym of the incredible Grover Gardner.


THE ENDURANCE by Caroline Alexander is read by Michael Tezler and Martin Ruben, and in it Shackleton’s legendary Antarctic expedition is chroniclized.  An Audie Award winner as well, this true story has the feel of an epic. Also from Highbridge is THE KILLER ANGELS by Michael Shaara, read by George Hearn. The definitive Civil War novel, true to history, and grand in scale. 


GOD IS MY BROKER by Christopher Buckley, read by Mark Linn Baker.  A funny comic novel about a Wall Street broker who becomes a monk. 


{Jonathan Lowe has been a reviewer and author interviewer for 30 years. From Greenville and Tucsoo, he is author of the new title “CAT ON A COLD TIN ROOF,” read by Geoff Sturtevant.}  


Friday, April 28, 2023

Big Feet and Big Ears

Imagine Murder on the Orient Express with the setting of an expedition to discover Bigfoot. Minus the train. Each character has their own reason to come along, several with hoaxes in mind. A double love triangle to boot. When Sheriff Jeff McQuede's friend, Barry Dawson, tricks him into attending a Bigfoot convention at the small town of Trail’s End in Wyoming, he finds the adventure is only beginning. He is soon invited by the head of the research team, Dr. Adam Kurtz, to hike with them into the isolated mountains below Lost Man's Peak where few people ever venture. Several murders soon punctuate the camp amid supposed sightings of the monster. Who is playing whom, and why? This becomes a sorting out of motives and accusations. BLAME IT ON BIGFOOT is a good title to try out the fiction of sisters writing team Loretta Jackson and Vickie Britton, and is number ten in the High Country Mystery Series at BooksinMotion.com. Narrator Michael Bowen services the characters with appropriate voices to keep them separated. This requires a little exaggeration, but never over the top. 


You are being tracked and watched. Even by iWatch. That information is stored in supercomputers and your profile is kept by the NSA without your knowledge, but with your consent. When you clicked “Agree to Terms” at Facebook or Instagram or even Angry Birds, you agreed that they own everything you post and can use it however they wish. Oh yes. It’s in their Terms of Service, which author Marc Goodman in FUTURE CRIMES calls, “terms of disservice.” Read the fine print, normally toward the end of 25 pages of dense copy in 6 point type…of course our attention span is now less than a goldfish, and they know this. Now, maybe you don’t care. It’s the price of freedom, right? Well, if you are ever in a felony, or fall under suspicion, that info can be used against you. And maybe it’s a felony you didn’t commit. Maybe you were set up by hackers. Maybe your identity was stolen. Are you in the “cloud?” The Cloud can be hacked. It is not invulnerable. Many don’t even know what it is. Your info is just “up there, somewhere,” exposed, where storms can happen. Data storms. Lightning fast. Thousands of USPS employees had their information stolen instantly, and millions at Target, which became a target. And that’s just the tip of the melting iceberg. Also listen to the audiobook LIGHTS OUT by Ted Koppel. That’s about hackers getting into the electrical grid and putting our lights out for weeks. Not to frighten you, but black swans appear now and again. 9/11 helped create the paranoid surveillance state, Paris shows that they can’t know what terrorists will do, even with boatloads of tracking devices…if they go off-grid. One way you can partly go off grid yourself is to quit using Facebook or Instagram or “free” gaming apps, but if you can’t stop that, at least trade in your iPhone for a flip phone. If you have an Android smartphone you’re even worse off, since they are easier to hack in coffee shops and elsewhere. (iPhone is proprietary software, Android not.) The horror stories of what can happen (and is happening more often) is detailed in Future Crimes, which is scarier than anything Stephen King has written. It’s not future only, too, it’s about right now, with chilling examples of real cases. Question: would you rather know this, or not know this?


Thursday, April 27, 2023

In the Gate with Barry Abrams


Jonathan Lowe) There is a Barry Abrams horse trainer from Belarus who retired with throat cancer, and an article I saw said, “he was barely audible.” Like Audible. How did you start as a Voice actor? Was it a transition from horse race announcing? Which came first—the voiceover egg or the jockey? 

Barry Abrams) I started doing the horse racing podcast, “In The Gate” for 2 reasons. First, as a marketing tool. In researching the voice-over industry, I found that several name voice artists did podcasts of some kind. It didn’t necessarily matter what the topic was, as long as it was sustainable and presented reasonably intelligently.  I settled on thoroughbred racing since I know a lot about it, and I am fortunate that my day job employer allows me to post the shows on their world-renowned website. The second reason I started the show was to get built-in mic time each week… practice. I also learned better ways to edit my own stuff, since that is now part and parcel of the job. I actually had the trainer, Barry Abrams, on the podcast, but he really didn’t get the joke. Opportunity wasted.  Nice man, though. First-generation immigrant. Hope he recovers completely. 

Lowe) I once interviewed Seabiscuit author Laura Hillenbrand, who loved the horse, as did so many at the time due to the horse being an underdog that people in the Great Depression identified with. What do the numbers say about the greatest horses of all time, like Secretariat, and what horse is your personal favorite? 

Abrams) In terms of numbers, Man O’War has the longest stride of any horse ever measured – something like 28’, a good 2-3 more than most, so he was gaining on you just by running your speed. Secretariat had a heart twice the size of a normal equine heart, and a third larger than any ever previously measured. He had a bigger engine and could pump more blood so his muscles recovered faster.  

Lowe) Lance Armstrong had similar advantage. A physically big heart. 

Abrams) Well, they are arguably the two best American thoroughbreds ever, and now you know why. My favorite, though, is a female named Rachel Alexandra. In 2009 as a 3-year old, she beat males 3x including a Triple Crown race – the Preakness. Her win against older males, which very rarely happens in American racing, in the Woodward Stakes at Saratoga still makes the hair on the back of my neck stand up. Check it out on YouTube. 

Lowe) The Letterman incident where he got you to repeat the phrase “He shoots, he scores!” Were you surprised to see him sitting there at your internship interview at NBC?

Abrams) The date was Monday, April 13th, 1990. As I reached the spring of my first year at Syracuse University’s Newhouse School of Communications, I went to NBC to apply for a summer internship. Rob Burnett, still a budding producer at that time, came into the waiting area to announce that Letterman wanted to do a gag where he pretended to be personnel director. We in the waiting area were assured we would also get a real interview afterword for the internships we wanted. I called my mother, since I was to be home at 12:30 in order to vacuum the house for that night’s first Passover seder. That’s why I was back at home that day, and the internship interview made sense to do while home. My mother didn’t know or care about Letterman, and she said, “When are they doing this?” “Now (10am),” I replied. She said, “be home by 12:30pm.” 

Lowe) Some of the other titles you’ve narrated include The Well-Tempered City, The Four Things That Matter Most, Watching Smarter Baseball, Scienceblind, Whiskey Business, Brady vs Manning, This Narrow Space, and Destination Earth. Mostly non-fiction. Favs? 

Abrams) I enjoy primarily non-fiction. Since I am a journalist by trade, I am wired to want to learn about the actual world around us, not necessarily a made-up world. I mean, I enjoy a good story or a good movie as much as anybody, but the publishers I service figured out, without my even having to tell them, that I perform non-fiction well. Of all the titles I have done so far, I really enjoyed This Narrow Space. It is about a pediatric oncologist who moves from New York to Israel to try to set up a pediatric palliative care unit at Hadassah Hospital in Jerusalem. Hearing from an American perspective about the cultural differences between the two places was fascinating. The timing was coincidentally perfect, also – I traveled to the Holy Land about two weeks after completing the book, and it all hit home for me.

Lowe) Fav books you haven’t narrated?

Abrams) To Kill a Mockingbird, and the Torah.

Lowe) You recorded the title Vitamin N. How can listening to audiobooks while hiking get one more attuned to nature, with a capital N? 

Abrams) Vitamin N is a perfect book to which to listen while walking around. Wear small earbuds, though – not big cans that block out the natural sound. Walking around while listening to Vitamin N is like talking a guided tour of a historical location. You’ll start to notice so many little things that your eyes and mind would normally just pass right over. Even though you’ll be using an electronic device to get there, you’ll start to unplug and learn to appreciate the simple but wonderful gifts of nature.


Listen to AWAKENING STORM and THE UMPIRE HAS NO CLOTHES, both narrated by Barry. He adds some horse humor of his own to the latter, just out. My sister has passed, and was a huge audiobook fan. We went to a horse race in NC together once too, and there is a horse named Audible. She reviewed some audiobooks for Cracker Barrel stores website, and interviewed Christian authors. My novel “Awakening Storm” is dedicated to her, and was narrated by Barry. Visit Barry Abrams Voice on Facebook, and me at Jon Lowe. His podcast is called THE FAR TURN. 

Thursday, April 20, 2023

Wishing Star




WISHING STAR (from the new audiobook MOM GOD.)

 

Miranda, as I called her, and as I imagined her to be a chunk of some alien moon--old beyond estimation--weighed in at six and a half kilograms.  A pint-sized alien, then, but impressive for the darkened scars along her side, suggesting she'd been a naughty child, given to fights.  I was told she'd weighed more, much more, but that she'd decided on a crash diet as she entered the atmosphere at better than a mile a second.  Impact in soft earth had prevented total vaporization, creating the eight foot crater I'd discovered perilously near a tall saguaro cactus.  

     An afterimage of the flash remained virtually embossed on my retina long after her quaking light no longer stretched shadows over my body, and I imagined her years earlier passing Jupiter--that improbable swirl of methane storms across millions of miles of cold--deciding on the very trajectory which placed the meteor in my hands.  When the paper took my picture holding it, they called her my pet rock.  Nickel and iron, they said, that was not of this world.  And somehow I understood from this that I could be happy.  I felt, after Miranda, that it was possible.  If only I could get my wish...

     I'd been lying atop my sleeping bag in the desert sand when that elongated exclamation point--like the finger of God--drew across the heavens.  Moments before the distant and resounding thud I'd been contemplating a past which had brought me from the East, emptied of all those signposts which might stabilize a young carpenter's life, and prevent him from seeing the truth of his aloneness.  I said many things to the reporters, but not these.  I didn't tell them much about myself at all.  Because they didn't ask about my thoughts in the desert on that night and the secret wish I had made, I stuck to those tangible facts which made nice human interest copy.  As they took their photos I smiled like I'd seen men smile in magazines, and I knew already how the image of my face on newsprint would seem: as alien and masklike as a mannequin's.  I was, simply, a rock.  Take away the rock and I was a loner, on my own, looking up at nothing--a stone for a pillow.  Take away the microphone and my silence would be as the stars...

      When I excused myself during the meeting in the lobby of the Arizona Daily Star there was a man who sang to me in the restroom.  "When you wish upon a star," the man confided, "your wishes travel much too far."

       I turned to ask the man what he meant, but he was gone.

       They would all be gone, of course, in much the same way.  Slipping out slightly embarrassed at my indecent lack of credentials, and for this being my one tenuous claim to fame...  even the ones who wanted Miranda for their schools or their planetarium displays.  But before that inevitable thinning, however, a miracle...  A discovery more amazing than that the heavens had opened and Miranda streaked into my grasp, an angelic gift.  A person whose presence I felt.  Curious, shy: a girl who wanted to hold Miranda in her hands, to turn her round and round and feel her texture, her weight...  And with a voice so amazed.

     "Just imagine," the girl exclaimed in the lobby, "how far it's come."

     "It's a she,” I replied at her puzzlement.  "Miranda.  That's her name.  That is...there's a moon of Uranus with that name.  I thought it fit."

     Her mouth formed an oh.

     "I...don't know why," I went on, "I just thought..."

     I paused then, not remembering what I'd thought.

     "Funny," said the girl, "but my name is Miranda too."

     "No, it's not."

     "I've only come as far as Vermont, though."

     I studied her, and felt no deception.  I doubted as one always doubts a miracle, but seeing was believing.

     "That's a long way too," I said, finally.  "Relatively speaking."

     "What is?"

     "Vermont."

     She smiled.  And it was a filling smile, like a door opening on a closed room.


And then there was one more door.

      "Have you come here often, Mark?"

      But no smile.  We were sitting on a blanket, out beyond the park's boundaries, surrounded by saguaro cactus, the only light that of stars.  Almost an hour after she'd followed me over that winding road past the city lights, and now no meteors to break the desert silence.

     "I'm sorry," I told her.

     "Why?"

     "Because you wanted to see one.  A shooting star."

     "It's okay."

     "No, it's not."  I opened my duffel bag and withdrew my battered pair of 20-power binoculars.

     "Really," she said.  "I've seen them before!  In fact, I was outside the same night you were, and I might have seen the same one as you.  It was very bright."  She looked down at her hands.

     "I was going to show you,” I said, then.  “Look.  Look over there.  West, at two o'clock.  That cross.  See the star at the top?  It's Deneb, in the constellation Cygnus the Swan."

     "What about it?"

     "It's a thousand times brighter than our Sun."

     "No, it's not."

     "But it's over nine hundred light years away."

     Miranda thought about it, then she smiled.

     "I'll bet it's bigger TOO," she said.

     I nodded.  "But so far away."

     Now I could tell her about the Crab Nebula, that gaseous remnant of an exploding star in 1054.  Maybe even discuss the origins of comets.  Describe to her black holes and pulsars.  I could mention what books I'd read on the subject...and then...and then how even as a child I'd go outside while my mother and father argued over money and bills inside...  How I'd lay in the grass and look up at the stars and wonder if there were anyone up there looking back...or if maybe it was all only emptiness, a mere chaos of unimaginable heat and cold, size and distance.

     But I couldn't tell her why I was here, now, thirty years old but feeling much older.  I couldn't tell her that, even if she wanted me to...

     "I'm sorry," I said.

     "You really are, aren't you?"

     "But I've brought something else, just in case."

     I reopened my duffel bag again and took out the bottle rocket.  I'd purchased it the same afternoon we'd met, when it occurred to me that miracles couldn't be expected more than once in a lifetime.  The fat lady in the red scarf in the shack with the painted black cat told him to light the thing and step back.  It was that simple.  And when I did it Miranda stood up and clapped her hands.

     "I love it, I love it!" she said, almost breathless, in the smoking dimness.  I glimpsed her eyes, reflecting a sliver of low moon which itself reflected the hidden sun.  After a long silence she wanted to know more about me--”who I was”--and I wanted to say, but couldn't.  The closest I could get was the distant memory of one morning, the first day of college.

     Shadows, then, I told her:  That first morning, when the world seemed heavy with expectation, the sky achingly blue, the future so promising for one whose mind danced with the rhythm of youth.  Some days were meant to be remembered, I told her, and that had been a day of days.

     Halfway through the telling she took my hand and squeezed it.  For as much as I tried to keep it in check, she must have seen a telltale tear come in straining to remember that day in the way I really wanted, past all the pain of my parent's accidental death, and even my dropping out to wander the world with only my hands to sustain me.  As my father had taught repeatedly, if I was willing to work with my hands I'd always have food for my mouth.

     My callused hands, strangely frozen in hers.  Time alone had held such hands.  And now?

     "I'm sorry," I said.

     "Stop saying that."

     "But I am."

     "Why?"

     "Because you came out here for nothing.  Not even a flash in the sky.  Only a substitute.  Like a memory."

     Into my embarrassment her face loomed closer, an oval resolved finally into identity.  Her voice was consoling now, her words chosen carefully:  "We think we'll never forget, but we do," she said.  "How do you remember a feeling, exactly as it happened?  You can't.  All you have are facts--bits of what you did, what happened.  The reality no one understands is buried.  ...Don't you see?"   

    I nodded.  "I made a wish, when I saw my shooting star," I confessed.  "I wished...you...into existence."

    "Me?"

     I described the rooms to her, then.  The studio apartments in Buffalo, in jersey city, in Newport News.  The tiny kitchenettes where over the past year I'd cooked tasteless frozen dinners...the droning rattle of the air conditioners as I tried to sleep over the laughter and television sounds next door.  I told her about reading dog-earred novels late into the night until I was too tired to keep my eyes open.  About dreams of falling, and waking up just before I hit bottom.  I detailed the brief relationships formed out of fear or desperation.  But I couldn't tell her about downtown streets at night, and the bus stations, and the way the streetlights became an eerie green that made everything feel totally alien...lost.  I couldn't describe how the real world had vanished all together for me then, leaving only this substitute for people alone--always, even in the daylight then, alone.

     I couldn't.

     I could only close my eyes and turn away.  And when I opened my eyes again I was alone.

     Three days later I was reading a discarded edition of the Star in a donut shop at the corner of a long block of restaurants.  It was 10 AM and above me the shop's circulating fan beat down, flapping the paper in my hands.  My eyes tracked in the slanted morning light.  But I didn't see the ad.

     A week later found me at the bus stop, sitting next to another discarded paper left in the blue cubicle which protected riders from the intense heat.  This time the ad was in bold type, a giant arrow pointing at it from above.  But just as I was about to read it, the bus came.

     Finally, on a Thursday afternoon, I was scanning the classifieds for an apartment, and there it was.  Not merely a print ad this time, but a photo.  In the wide-angle image a girl held a roman candle at arm's length, a bright blue ball of flame arching skyward over the parking lot in which she stood.  To her left, out on the street, drivers either stared blankly or pretended not to see.  And below the photo:  

     MARK--WHERE ARE YOU?   PLEASE CALL ME AT THE PAPER.   I'M SORRY.  --MIRANDA.

     As I ran toward the phone booth, a strange sense of exhilaration seized me.  The Star's switchboard operator transferred my call to the Classified department.

     "Star Classifieds, may I help you?"

     "Miranda?"

     "...Mark??"


That night I drove her to the planetarium and on the way told her that I'd left my other apartment and was staying at a motel for a while.  I was trying to tell her all those things which "had no words for them so they never get said" when she touched my arm.  I looked over to see that she was crying.  Silently.

     "It's okay," I said.

     "Not it's not," she replied.

     "What do you mean?"

     She told me about the men, then.  The ones who had used her.  She told me about grocery stores too, and libraries, and even singles bars--all of which had bred loneliness for one who disliked being left by men who fled back to their vampire's caskets at dawn. 

      Then...then she told me why she'd left me that night:

     "Your remember your wish?" she said.  "The wish you made when you saw your shooting star?"

     "What about it?"

     "It's the same wish I made when I saw it."

     We arrived at the planetarium, a massive dome looming up into the night sky.  Wordlessly, I led her inside and we settled into the deeply cushioned interior seats, tilted back to afford a view of an arched ceiling on which were projected the images of stars, galaxies, and nebula.  The program of the evening was a clinical study of the relative sizes of stellar objects.  There was the sun, a yellow circle on the ceiling.  ...The earth, a tiny blue dot beside it.  Then a huge red circle projected over both, enough to cover a hundred suns...the red supergiant, Antares.  

     I took her hand on the wayfarer out.

     "I want to show you something else," I said.

     "No more," she whispered in reply.  "I feel so small.  So small I’m almost. . .dizzy."

     "It's okay," I said.  "It's okay, now."

    I squeezed her hand, and then I pointed.

     In the lobby was a new display, amid several others.  On a freshly painted pedestal in the center was a meteorite, six and a half kilograms in weight, dark scars along one side...

     "Now that," I told her, with conviction, "is just a rock."