How Boys Become Men? (Hint: Memoirs Help)

August 26th, 2010

by Jerry Waxler

Ed Husain, author of “The Islamist,” grew up in a Muslim community in England. As a young boy in the 1980s his greatest pleasure was following his father and learning to pray. In high school in the 90s, he fell in with a group of boys who said that prayer was for old people, and that the urgent mission of every Muslim should be to destroy western culture. These ideas appealed to Husain, and overriding his father’s objections, he joined the demonstrations and soon began organizing them.

Husain’s choices offended me. Couldn’t he see his father’s wisdom was deeper than his own? Wasn’t it obvious he was attacking the very government that gave him the freedom to protest in the first place? While I was criticizing Husain, I felt a tug from another direction. In the back of my mind, I remembered my own choices when I was his age.

My father was a pharmacist. After years of hearing him speak reverentially about doctors, I decided the best way to please him would be to become a doctor myself. When I entered college in 1965, I was well on my way. But the Vietnam war was ramping up and so were the protests. When I was 20 years old, I stood outside the Commerce Building in Madison, Wisconsin, dodging tear gas canisters. A thousand kids with red faces and tears streaming down our cheeks, snapped our arms in a Nazi salute and screamed “Sieg Heil” at the club-wielding police. I had crossed a threshold into an angry state of mind where fixing the world took priority over a mere detail like my future livelihood.

Even though Husain’s journey and mine were light-years apart in ideology, we had many things in common. Both of us thought our hot-headed ideas were based on a pure ideology that demanded anger and action. Looking at our ideas as a matched set, I see how similar they were in their rejection of our parents’ values in favor of a pressured, bold path suitable for young men.

Another thing we shared was a conscience too deeply developed to ignore the inevitable results of our  rhetoric. Husain lost his taste for divisive political action when he saw a student knifed to death in the name of religion. I lost my enthusiasm for demonstrations when I realized I could not riot my way to peace. And yet, it was too late to retreat to the innocence of childhood. We had to go forward, following the path we started. It took years of self-discovery before we were able to reclaim a sense of purpose.

After Ed Husain disengaged from his activist friends, he needed to learn the truth. He moved to the Middle East to learn Arabic and study the Koran in its original language. Eventually, he not only returned to the prayerful religion of his father but also gained a deep respect for the freedom and dignity afforded by western democracies.

My return to my father’s way of life took many turns. First I tried avoiding adulthood altogether by becoming a hippie. Then I became a piping engineer, helping design nuclear power plants. When that industry collapsed, I took a job in a foundry along with muscular men who poured molten brass into black sand molds. I drove a sports car, a red Camaro, and changed my own brakes and spark plugs. Tired of muscles and dirt, I became a computer programmer and technical writer. During the entire period, it never once occurred to me I was trying to figure out how to become a man. I just thought of myself as a person.

Toward the end of the foundry stage I decided that if I was ever going to find my way back to wholeness, I had to keep growing, so I began to read self-help books. For example, Stephen Covey’s “Seven Habits of Highly Effective People” urged me to consider my thoughts and actions. Like a driver of a car who realizes he is steering a deadly vehicle, these authors showed me that living well required careful attention. I read a hundred books and learned something about how to be a better person from each one. I wanted to talk to someone about all this information so I entered therapy. After half a dozen years of talk therapy, I had gained so much respect for that process that I went back to school to learn to become a psychotherapist myself.

In graduate school, I deepened my understanding of people, for example, going deeper into the way children develop into adults. I learned general helping skills like the art of attentive listening. And I learned specialties like career counseling. In one of my specialized classes, I learned about a skill called assertiveness which means standing up for yourself and demanding your rights. The women’s movement has to a large extent been focused on teaching women how to become more assertive. I knew the course would help me counsel women, but I never found a corresponding course that would help me understand issues faced specifically by men.

I began reading memoirs, and many mysteries and puzzles about human nature came to life on their pages. For example, when I was growing up, the protagonists of novels were almost always men. Memoirs now gave me the chance, for the first time, to see the world through the eyes of female protagonists. I realized memoirs were providing insights into topics that I had only glimpsed in my counseling classes.

The big surprise was how much I was learning about boys. The more I read about other boys growing up, the more I began to see that growing up male has challenges that I had never before tried to put into words. After reading about Ed Husain’s experience trying to overthrow all of Western civilization, and reflecting on my own rebellion, I took another look at boys.

Mark Salzman, in his memoir “Lost in Place,” became obsessed with learning karate. Both he, and another author Mathew Polly in “American Shaolin,” even went to China to study martial arts. In “Tattoos on the Heart,” Father Greg Boyle worked with gang members in Los Angeles, mostly male. He was helping them find alternatives to shooting each other. I always knew the violent streak in boys lands them in jail far more often than girls, but now memoirs were allowing me to enter into those experiences and feel them more intimately. I now saw what should have been obvious all along. We have too much assertiveness. We become so fired up about our rights we demand, we defend, and we fight.

Of course not all boys assert themselves violently. In “Publish this Book,” Stephen Markley’s anger sent him running not to the barricades but to the voting booth. In the memoir “Three Cups of Tea,” Greg Mortenson looked for his manhood by trying to conquer  the Himalayan mountains. In his memoir “Open,” tennis champion Andre Agassi fought against his father’s demands by being a bad boy, breaking rules like dress codes, wearing colored shorts on the tennis court instead of whites. In so many cases, I saw how hard boys work to figure out how to grow up.

When I was young, I stumbled and struggled on my path toward adulthood. Now decades later, comparing my life with the lives of boys in memoirs, I see a pattern that helps me make sense of my journey. My decisions early in life seem to a large extent to be based on trying to please my father. I’ll call that Stage One. In my late teens, I became impatient with Dad’s way. His guidance seemed to be slowing me down and I felt a sense of urgency to pass him in the fast lane. That was Stage Two, but as Stage Two progressed, I didn’t know where to stop. I rejected my father’s path so effectively I began to fall apart. Finally, I became frightened by my own rebellion and realized I didn’t know what I was doing. Around 25 years-old, I entered Stage Three, when I stopped rebelling and started pursuing a career. That was what I used to call “adult life” and thought there was nothing after it. Decades later, just when I thought I had run my course, I discovered there was a Stage Four. After my youthful anger had passed, I rediscovered my youthful idealism.

I originally wanted to be a doctor to please my father. He loved healers and I wanted to become one. Decades later, I am revisiting that desire to help others, replacing the original intention of healing physical disease with my lifelong desire for mental and emotional self-improvement. I want to help people learn about themselves and find their best path. And I’m not alone in my return to the idealism that lay at the foundation of my youthful rebellion.

When Ed Husain was young, he wanted to tell the world about his religion. It was a righteous instinct that required intense action. Later, when he discovered the roots of his faith, he realized there was a deeper obligation at the heart of his passion. His more mature intuition was that people needed to learn these things for themselves. He ran for elected office in the British government and tried to steer other Muslims towards the gentler, more inclusive roots of their religion. Based on his experience of being misled, he reached out to help others avoid similar mistakes. Then he wrote about his memoir to raise the alarm about the dangers of the fundamentalist movement that was insinuating itself into the minds of young men.

Other memoir writers followed similar trajectories of enlightenment and generosity. Mark Salzman wrote another memoir, “True Notebooks” about going into a prison and teaching boys to write. Greg Mortenson decided to stop fighting mountains and start building schools for poor children. Andre Agassi was not content with being a world famous tennis player. A high school dropout himself, he started a school for disadvantaged kids.

For most of my life I resisted the notion that men have different ways of looking at the world. I thought we were just people. Yet all along, I was behaving like other men, heaving myself against war, against career, against everything. But without the wisdom to reflect on my compulsions, I could never relieve the pressure. Now that I compare my journey with those portrayed by other men, I believe I could have achieved my deeper goals faster and with more wisdom by acknowledging that I happened to be a male.

I didn’t know all this back then, but I know it now thanks to reading and writing memoirs. Memoirs have given me the ability to step back and look at the forces that were being played out. For example, I see myself at 22 years-old raging at the world to stop fighting. The world sent in their own platoon of young men and they were better armed. Looking back, I see this head-on collision only fulfilled our need to rage but failed to achieve our goals. Now, as I look at the state of the world, I wonder how many young men are out there fighting to tear down some enemy’s world, or furious at some group or policy, and I wish I could help those boys see a different way. I imagine a world in which, instead of devoting their energy to tearing things down, they poured their idealistic passion into building solutions.

Perhaps writing stories will help. It certainly helped me. By writing my memoir, I now see the journey through those stages. Perhaps it could help fathers, who, by writing their story, could become more sensitive to the journeys of their sons. And it might help the boys, themselves. Erin Gruwell, the teacher in “Freedom Writers Diary,” and Mark Salzman in “True Notebooks” showed troubled kids how to write about their lives, and as they heard the words on each other’s pages, their own sense of social responsibility emerged as if by magic.

Memoirs are spreading the word that we are protagonists in our own drama, that we are all intertwined, that our actions matter. Perhaps memoir reading and writing could help boys find their authentic selves faster, and convince them to spend less time pushing and heaving against the world. World peace without the riots. I know one 20 year old boy who has finally grown old enough to understand this truth. Now I need to explain it to a few others.

Is it assertiveness or aggression? Neither it’s Thumos or Thymos!

What makes boys so willing to fight for what they think is “right?” I puzzled over this quality that drove me crazy when I was growing up. I don’t think “assertiveness” is the right word. Assertiveness indicates something more methodical and carefully planned. The impulse I’m trying to describe is more pressured, and instinctual and pervasive than that. It takes over a boy’s whole sense of direction. And I don’t think the word “aggression” fits either. The willingness to hurt others might be part of it. But this larger “boy’s instinct” is not just about a fight for a street corner. It’s more philosophical than that, as if boys have an instinct to understand their righteous place in the world.

I recently found a candidate for the right word in a book by psychiatrist Jonathan Shay. In Shay’s professional life, he treats Post Traumatic Stress Disorder in combat veterans. In his private life, he studies Greek classics. In Shay’s book, “Odysseus in America: Combat Trauma and the Trials of Homecoming” he points to the Greek quality called thumos (also spelled thymos). The Greeks harnessed this quality of righteous anger to train good warriors. Once I knew the word, I saw the quality everywhere. Consider the murderous fight between Tybalt and Mercutio in Shakespeare’s “Romeo and Juliet.” They were incensed by an insult from the “enemy” family.” Erin Gruwell, in “Freedom Writers Diary,” invited her students to compare Shakespeare’s deadly fight with their own Los Angeles gangs. Shay’s discussion of this Greek concept did not include advice for how to steer boys toward a more creative, socially productive outlet. For that, I will need more research. I think I will find the answer in memoirs, which are the repository of human truths of all kinds.

To learn more about the process of going from boy to man, I signed up for a Men’s group weekend offered by The Mankind Project,  If it sheds light on memoir writing or self-discovery, I will write more about it here.

Notes

Amazon page for “The Islamist

Link to an article I wrote about “The Islamist” and Islamis, “Memoirs show two sides of the Islamic Revolution

Index to articles about memoirs on Memory Writers Network

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Memoirs Show Two Sides of the Islamic Revolution

August 20th, 2010

by Jerry Waxler

I have always loved escaping into a good book. In my younger years, I escaped into the invented world of fiction. Nowadays, I escape into the lives of real people, through whose eyes I see a different view of my own world. Two memoirs I read within the same month provide a perfect example of this educational benefit. Ed Husain’s “The Islamist” took me inside the Islamist movement in Britain, and Nazara Nafisi’s “Reading Lolita in Tehran” showed life in Iran under Islamist rule. The knowledge I learned in one book deepened my understanding of the other, amplifying the value of each.

Ed Husain, “The Islamist”

Ed Husain was a teenager in Great Britain in the early 1990s. His parents and most of his neighbors were immigrants from Bangladesh. In fact, he didn’t have any white friends. His family’s spiritual approach to the Muslim religion cultivated a prayerful, almost mystical atmosphere in his home life. Then, as a teenager, Husain fell in with a crowd of boys from the Indian sub-continent who felt prayer was obsolete. Their goal was to overthrow Westernized governments and create the kind of world God intended, one all-encompassing Islamic state. At first, Husain’s loyalty was torn between his parents and his new friends. Gradually he aligned with his activist peers, fighting against Western values such as freedom and democracy.

The Islamists didn’t want their anti-Western message to be the dominant one. They wanted it to be the only one. When other activities were scheduled on campus, Husain and his friends stayed up late into the night creating plans to disrupt the competing event. They agreed in advance on the lies they would tell to make themselves look innocent and divert attention from their predatory practices. Whenever pressed on their unethical or manipulative behavior, they quickly shifted the conversation to global politics, claiming all their actions were caused by colonialism. I was especially intrigued by their coaching to “speak sharply,” to create an aura of fury and righteousness around their words. Between their angry tone, their rehearsed lies, and their instant shift to global politics, they controlled, and won, debates among the young Muslims on campus who were struggling to find their own path.

Azar Nafisi, “Reading Lolita in Tehran”

After reading about Ed Husain’s firebrand belief that Islamic law should take over the world, I read a memoir by Azar Nafisi, an Iranian girl who grew up under the secular government of Shah Pahlavi. The Shah promoted Western culture and violently suppressed opposing Muslim groups, earning a reputation as a ruthless tyrant in some circles and a forward-looking leader in others.

Taking advantage of the respect afforded to women in Iranian society, Nafisi attended college in the United States to study English Literature. Like many other intellectuals in the 1970s, she took part in the anti-U.S. demonstrations that pervaded campuses in the wake of the Vietnam war. She rallied against Western culture and especially agitated for the removal of Shah Pahlavi who was denounced as a “pawn of the West.” In a classic case of “be careful what you wish for,” within a few years, her revolutionary dream came true. Shortly after she returned to Iran in 1979, the Shah was deposed and Ayatollah Khomeini took over, bringing into power an Islamist government similar to the one Ed Husain would be advocating 15 years later.

Iran’s fundamentalist rulers quickly squeezed out so-called “decadent elements.” Reminiscent of the excesses of the Chinese Cultural Revolution in the 1960s, bands of armed young men patrolled the streets looking for women who dared walk with an unrelated man, who had a wisp of hair showing from beneath her veil, or who possessed cosmetics in her handbag. Women were flogged, imprisoned, and executed for such crimes. Nafisi lost her teaching position for refusing to wear the veil.

Two sides of the same page

The two books cover the Islamist movement from two entirely different perspectives and in two vastly different styles. Husain’s journey from boy to man leads him to street corners where edgy, pressured boys hand out fliers and engage in aggressive rhetoric. Later, after Husain distances himself from the movement, he begins a historical investigation trying to tease apart these two threads of his religion. In ancient writings, he discovers the religion of his father, the one that encourages an introspective, worshipful relationship to God. Husain also tracks the political aspect of the religion, and shows how it emerged in the twentieth century through the inflammatory writings of a few men who have had an increasing influence, especially on young Muslims in recent decades. While these men claim ancient authority, Husain finds their thinking to be more closely aligned to Karl Marx than to the Koran.

Nafisi is driven by ideas, too, but of a very different variety. She seeks her wisdom in English Literature. On her tongue, passages from Vladimir Nabokov and F. Scott Fitzgerald come alive, providing a rich poetic subtext to her own narrative. Her compatriots are the young women who have been forced by the Islamist Revolution to hide their femininity and enter the university through a separate door so they can be searched for cosmetics. When her girls come to a private literature class held in her home, they remove their scarves and Nafisi sensually describes their locks of hair. She bites into pastry, pours coffee over ice cream, and, above all, revels in the delicious pleasures of her beloved literature. Whereas Husain’s investigation is done with the protection of the democratic freedoms of Great Britain, Nafisi’s drama plays out in a police state, where students are seized and held in secret and summarily executed in the night because they showed signs of “Western decadence.”

The Muslim religion doesn’t need to be this way

In college, when Husain saw a boy murdered, he realized his terrible mistake. He started to suspect Islamism wasn’t promoting religion after all, but was merely using religious ideas to promote a political agenda. Trying to clarify these conflicting ideas, he moved to the Middle East to learn Arabic so he could read the Koran in its original language. In the Prophet’s teachings, he found an introspective, mystical religion which teaches a personal relationship with God and respect for people, including women and non-Muslims. Based on his findings, Husain returned to the prayerful beliefs of his parents. Through his writings, public appearances, and participation in the British government, he promotes democratic ideals, and raises awareness of the dangers of this divisive movement.

Two books weave a fascinating story

Before I read these books, I only knew about Islamism and life inside Iran from news bites and articles. After accompanying each author through years of personal, in-depth experience, I understand so much more. On one end of this matched set, I saw the Islamist ideas Ed Husain found so invigorating and urgent. I felt his pulse quicken as he rose to the challenge of dominating the world. On the other end, I saw how these very ideas were forged by the men of Iran into bars that imprisoned Azar Nafisi and her students, and stole their freedom and dignity.

The End

Writing Prompt
If you have been part of a political or a religious movement, your memories might seem insignificant, as if you were swept up in something of which you were a tiny part. But these events may have affected millions of people. Your feelings and observations as a believer and participant could offer a valuable contribution to social discussion. List or journal a few notes about the forces that influenced your life and look for scenes that would portray these experiences in your memoir.

Note
For another book that sheds light on the difference between the Muslim faith and the Islamist movement, read Greg Mortenson’s memoir, Three Cups of Tea. Click here for my essay on that powerful story.
Find meaning through service” or “Making peace with the peasants of Pakistan

Book Links
The Islamist, Why I became an Islamic Fundamentalist, What I Saw Inside, and Why I Left by Ed Husain

Reading Lolita in Tehran by Azar Nafisi

Note
As Husain was growing up to become a young man, he was swept up in a political movement that preached not only the domination of the world, but also the domination of women. This reminds me of another memoir I read, a year ago. Frank Schaeffer, on his way through adolescence, also experienced an exploding interest in ideas that place women in a subservient position. Schaeffer, author of “Crazy for God” grew up in a spiritually oriented Christian commune in Switzerland in the 1960s. As he entered adulthood, his focus shifted from God to women’s reproductive systems. Using his father’s extensive political connections, Schaeffer brought his intense interest in abortion into the heart of U.S. politics, where they took root in the religious right. Maybe Freud was right. Maybe it is all about sex.

See my article about Frank Schaeffer’s memoir by clicking here: One man’s battle with sexuality changed the world

More memoir writing resources

To see brief descriptions and links to all the essays on Memory Writers Network, click here.

To order my short, step-by-step how-to guide to write your memoir, click here.

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5 More Memoir Book Reviews

August 10th, 2010

by Jerry Waxler

Here are five more memoir books for your reading list. It’s a motley assortment, built up from a combination of bookstore browsing, word-of-mouth, and availability through audible.com. (I listen to a lot of books.) Feel free to add your recommendations or comments.

Strange Things Happen: A Life with The Police, Polo, and Pygmies by Stewart Copeland
Stewart Copeland played the drums so well he helped propel the band “The Police” to rock and roll success in the 1980s. The memoir, “Strange Things Happen,” centers on the tour the group took when they regrouped in 2007. In addition to nostalgia value for fans, the book has interesting features for anyone interested in musical culture. I was intrigued by his insider look at the “tribal energy” of live performance, of what it felt like to be driving a crowd into a rock and roll frenzy. He gives an excellent inside look at the production of a concert tour. I enjoyed his detailed description of his interest in the sport of polo. And I was intrigued by his self-promotion instincts — for example, he saved his old tapes, he created a movie which cross-promotes the band and this book, and he unashamedly pitches and promotes himself every chance he gets. Surely there must be lessons in there somewhere for us internet author-entrepreneurs.

Reading Lolita in Tehran by Azar Nafisi

This is a deliciously written book by a refined woman, about teaching English literature to a class full of students who have basically become prisoners of the Islamic Revolution in Iran. “So many teenagers were executed,” she says. Their crime was Western decadence. A typical charge was “promoting prostitution.” One young man felt aroused by a girl whose scarf revealed a patch of white skin. He had the girl expelled from the university for this offense against the revolution. From the modern secular society Iran had become under the previous ruler, the country was now plunged into chaos in the name of religion. Azar Nafisi uses literature to inform her students, as well as her readers, about the power of reading as an escape and a commentary on this life. It’s a fabulous insight into the role of the university and “the intelligentsia” in movements of social change.

Match dot bomb by Francine Pappadis Friedman
The author’s husband died when she was in her late 40′s, too old to be young, and too young to be old. She assumed she would live alone, but pressure from her friends caused her to reconsider. She entered the internet dating market, and this memoir is her journey through a series of disastrous dates. What does it feel like to be a widow, starting  over? The book demonstrated once again the power of memoirs to open a window into a different slice of life. In addition to the dates, she offers a lovely portrayal of her relationship with her supportive girl friends. And the book contains an excellent flash-back of her childhood visit to her grandparents in Greece. The book has a lovely, polished feel – well written and crafted, and excellently edited.

Tis: A Memoir by Frank McCourt
This memoir picks up where McCourt’s first memoir, “Angela’s Ashes” left off, making it an excellent example of a memoir sequel. In this one, he tries to settle in and establish his life in New York City. Like his previous memoir, this one has tremendous authorial voice, resonating with McCourt’s signature inner dialog. He is a great observer of the immigrant melting pot experience. Everyone keeps telling him to “stick with his own kind.” He recounts many excellent stories about teaching in high school. Inch by inch, McCourt blends into society, grows older, and satisfies the American Dream, not in easy storybook fashion, but through the messy hard work of years.

The Tender Bar by J.R. Moehringer
This memoir is about a boy without a father, who struggles to make sense of his life. He is fascinated by the men who hang out at the neighborhood bar, many of whom are just getting by. When the author goes to Yale, his buddies in the bar celebrate, but they don’t want him to get too far ahead. It’s one of the more downbeat memoirs I’ve read, with several redeeming factors. The protagonist wants to pursue a career in writing, and his entry into the writing life is a good story. Another interesting feature of the memoir is that he’s a kid with no direction and then he goes to Yale. By coincidence, that is exactly what happened to Mark Salzman in the memoir “Lost in Place.” Finally, J.R. Moehringer is the ghost writer of one of my favorite memoirs, Andre Agassi’s “Open.”

More memoir writing resources

To see brief descriptions and links to all the essays on Memory Writers Network, click here.

To order my short, step-by-step how-to guide to write your memoir, click here.

To learn about my 200 page workbook about overcoming psychological blocks to writing, click here.

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Stephen Markley Interview Part 6: Post-publication blues?

August 4th, 2010

by Jerry Waxler

Writers who aspire to publish a book are eager to reach the finish line. Then when they cross the line, that particular race is over but life goes on and presents new challenges. I asked Stephen Markley a few questions about how what changed after he published “Publish this Book.”

Does writing a memoir limit your life?

Jerry Waxler: Your writing teacher didn’t want you to publish this book because he warned you that your first book defines you, and he said the memoir “wasn’t you.” Is this another bit of satire? I’m not sure how a memoir wouldn’t be you?

Your writing teacher’s advice is probably not that far off from one of the common fears I’ve heard from many aspiring memoir writers. They are afraid that if they write their memoir, it would mean their life is over, as if at the end of the memoir they are supposed to put down pencils down the way you would during an exam, and everything after that is cheating.

So what do you think, now that you’ve published it? Was the writing teacher right? Did it lock you into a direction you didn’t want to go? Was it the end?

Stephen Markley: I certainly hope it’s not the end. Look, I want from my career what every writer wants: the ability to choose whatever project interests me regardless of commercial relevance. Whether this will ever happen remains to be seen. I certainly found it was easier to publish a non-fiction book, so I can’t disregard that, but I do want to write fiction and follow my other passions and let my intellectual curiosity take me where it will. What my professor feared was that I would be essentially trapped in this young-guy-snarks-on-the-world shtick without any way of returning to some of that darker literary territory that I was writing when we first met.

To a degree, that trap has been sprung and I am caught in it, but I’m not worried yet. “Publish This Book” is partly an advertisement for books to come: it’s saying to readers, “Hey, here’s what I did with a memoir. Any interest in other genres?” To the extent that I get people telling me that they look forward to reading a novel, I think it’s succeeding in some small way.

Basically, I’ve resigned myself to being a writer with a small following. I doubt I’ll ever have the mainstream success of some of those big-timers who can throw together a book based on a reliable script every year or so. It’s just not who I am, and writing the same book over and over again does not interest me.

Marketing the book

Jerry: Are you really running around to colleges the way you planned to do in the book?

Stephen: Well, I just quit my job at Cars.com and plan to spend the summer out and about on the east coast driving around doing bookstore signings. Then in the fall, I’m going to go full bore at colleges again. My reasoning is that if ever there was a time to be young and unemployed and a little stupid, this is it. I’ll stay with friends, drink a lot, and kiss a pretty girl or two. I doubt I’ll look back when I’m fifty and wonder what would have been if I’d stayed in my cubicle making a reliable $35k a year.

What’s next?

Jerry: What are you working on for your next project?

Stephen: What I’m working on now is either an unwieldy disaster that I will give up at some point or an inspired fictional experiment. I feel the same way about it now as I did when I was at roughly the same point in writing “Publish This Book”: I’m not at all sure if it’s going to work, but I’m having a hell of a lot of fun writing it. It’s about writing (again), but also about the current cultural and political epoch. I have a feeling almost everything I write for the rest of my life will in some way be about the past decade: the years 2001-2010 have just been too breathtaking in horrific and wonderful ways to not dedicate an entire branch of literature to them.

Mostly, I just want “Publish This Book” to sell enough copies and garner enough fans that I can write and publish for the rest of my life. It’s really rare to get an opportunity like this: to be young and single and unattached and constantly inspired and ferociously hungry. There aren’t enough hours in the day to get every idea I have onto paper. I sometimes blink and wonder if all this has actually happened for me. Only once, I spotted someone in public reading my book. It was on the Brown Line in Chicago, and I did a double-take when I saw the cover. I just wanted to walk up and hug her.

Notes

Visit Stephen Markley’s Home Page

To read my review of the book, click here.

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Stephen Markley Interview Part 5: What do Publishers Want?

July 26th, 2010

by Jerry Waxler

Everyone who tries to write a book discovers that the actual writing is only one leg of a journey. Getting it from your computer into the mind of a reader is a long and daunting task. It helps to attend writing workshops and ask published writers how they did it. Another way to gain insight into the process is to accompany Stephen Markley on his journey to publish his memoir, “Publish This Book.”

“Publish this Book” is Stephen Markley’s first, which doesn’t make him an expert on how to get published. Or does it? After all, he took a crazy concept and somehow managed to convince a publisher to print it and get it bookstores. That puts him considerably ahead of many aspiring authors who would love to follow in his footsteps. So how did he do it? Here’s the conversation I had with Markley.

Amid the humor, your serious ambitions to write

Jerry Waxler: Woven in amidst your effort to grow up is a fairly serious road map of trying to break into life as a writer, including some good insights into the publishing industry and process. I think it ought to become a cult classic for people who want to become published writers. Have writers groups or writer wannabe’s found your book yet?

Stephen Markley: Well, obviously I whole-heartedly agree with the part about becoming a cult classic. But I have heard from some writers who think it should be a step by step guide to finding an agent and publisher. That’s not what I was trying to accomplish. From a writer’s perspective, the book is about the existential dilemma of creative art: do I need someone to pay attention to my writing to bring it validation? How do I decide if my writing is worth something or if I’m kidding myself? What’s the point of creating it if no one reads it?

The book is about writing in the spiritual sense – not the nuts-and-bolts practical matters. I don’t want to teach readers how to write a gangbusters query letter or come up with the most perfect marketable idea. The point was to look at the intellectual resilience and emotional perseverance it takes to reach for such a lofty goal.

I get a lot of satisfaction from all the letters from aspiring writers who found it useful and inspirational while also being cautionary, which incidentally, is exactly what I meant for it to be.

I thought publishers like short books

Jerry: Okay then. So it’s not a guide to publishing, but at the same time, you must get an awful lot of questions about what you did right. For example, I enjoyed every page, but I heard the common wisdom for new authors is to keep it short. So much for common wisdom. Why was yours so long and more importantly why did the publishers go along with this?

Stephen: The book was long because I had a lot to say on a number of topics. If I write forty books over the course of a career, they’ll all be well north of 100,000 words because that’s just the kind of writer I’ve grown into. I’ve seen some reviews that said it was too long, but I’ve had more people tell me that when they got to the end, they had wished there was more. A friend from high school, Luisa (who’s mentioned in it), told me she had to slow down and force herself to only read thirty pages a day because she didn’t want it to be over. That’s a pretty awesome compliment. Even when I gave it to Steven, he said I should cut it by a quarter—until he read it and told me he didn’t have anything other than minor cuts. What I’m saying is that it’s the length it was because that was how it developed.

Like I said in the book, I had a moment of fear when I thought the publisher would want to cut it drastically but that never materialized. I’m perfectly fine with cutting when appropriate but the idea that we all have to write short books because it’s more salable or American attention spans are getting shorter is kind of silly. I think it’s far more important to write the best book you can and then let the reader decide if he or she can stand to read something longer than a stretched-out blog post. If you spend all your time trying to tailor your idea toward what “Publishing” wants or is looking for, you’ll write something considerably less interesting and still face almost exactly the same prospects of getting published.  The Publishing Industry is basically a monolithic lemming, always chasing the previous “next big thing” over cliff after cliff.

Gender Demographics

Jerry: I keep hearing that a huge proportion of all readers are women, and when I teach memoir classes, the ratio is often heavily skewed towards female participants, leading me to believe that women are the dominant force in book publishing decisions. You were successful in a story about a young man, fraught with political incorrectness, potty jokes, and a very male take on sex. So what do you think about the gender of your audience, the numbers of your male and female readers, and the reasons you were able to convince publishers you would have enough readers to make it worth their while.

Stephen: Strangely, young women seem to really like the book anyway. The majority of the e-mails or letters I get are from women in their twenties, possibly because they simply buy more books. On the other hand, I do approach sex frankly, unashamedly, and, I think, truthfully, but I’m not a chauvinist (well, by my mother’s standards maybe but that’s another story).

Even the story about casual sex with the Blonde Republican is more a story about my own failings and personal disappointment than it is about her. Even if a woman couldn’t relate to this, I think it makes hetero male sexuality recognizable. As for guys, well, it should make a lot of sense to anyone who’s been single in their twenties. I’m basically thinking what every twentysomething guy is thinking, which is something along the lines of, “Man, boobs are great, but boy do I miss that girl I fell in love with back in the day.”

Again, as far as publishers go, I was not thinking “Well, is this too much sex for the publishing world or not enough sex?” I was thinking, “I’ll write this book as well as I know how, and it will have to include a story about hooking up with that Blonde Republican even though I’d probably rather forget it.”

Notes

Visit Stephen Markley’s Home Page

To read my review of the book, click here.

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Stephen Markley Interview Part 4: Structure of a Memoir

July 20th, 2010

by Jerry Waxler

The first thing that caught my attention when I picked up Stephen Markley’s “Publish this Book” was that it was a parody of itself, a memoir about “writing this very book.” This trick of self-conscious awareness, or “meta” as it has come to be called, played a big role in my thought process in college. If my friends and I observed something, we could then continue the discussion by making a comment about making the observation. It’s a mental twist I still enjoy 40 years later. In fact, now that I think of it, this might explain my interest in memoirs. First, we live our lives. And then the memoir is our commentary on what we just lived. A memoir is by its nature “meta.” But Stephen Markley’s memoir is even more meta than that. In this Part 4 of my multi-part interview, I ask him about his fascination with the structure of memoirs, and the shape of his own.

How you playfully constructed the long middle

Jerry Waxler: One of the known problems with writing a book is that you have to somehow keep the middle moving along. In writing classes I’ve heard it called the muddle in the middle. As usual, you do a great job of sending up the long middle, by using an extraordinary trick.

You separated your mind into parts, and dramatized the battle between the parts. Wow, talk about being able to discover the conflict within everyday life. This was a lively, intriguing technique. I think any author who fears they won’t be able to find the dramatic tension in their lives ought to study some of the devices you used in your book to realize how the author discovers and accentuates tension that is already there.

One thing that surprised me about this technique was that you used the terms Ego and Id, to show your personality being broken into parts. I would have thought these Freudian terms were old-fashioned. They were already starting to lose favor back in my day. So help me understand, were you using Freudian terms to be retro, or are these terms pretty widely understand in your generation as well?

Stephen Markley: I chose the terms because they are very identifiable. Everyone has heard of them, even if they might not be able to give the exact definition. Plus, I loved the idea of part of myself being this completely self-consumed narcissist and the even deeper part being just plain fucking crazy.

Jerry: One of the things I love about reading memoirs is that it helps me understand how other people think, what they believe, and so on. With your Ego and Id battle, you’ve given me a front row seat, but into what? How well do these scenes reflect your own inner process? Do you actually think about the battle of your mind? Were you trying to develop an authentic glimpse into your inner process?

Stephen: Obviously, everyone is more complicated than a simple three-way personality battle. I used that device because 1) it was comical and 2) it allowed me, Stephen Markley, off the hook. I had embodiments of poor decisions or cruel things I said or did. This sounds cowardly, but it helped me write more honestly. The crucial scene comes at the end, after I’ve found out that the book will be published, and my Ego’s swagger is suddenly gone. Because the only purpose the Ego ever serves is to buffer the writer from cold reality, criticism, and setbacks. When the Ego realizes the biggest obstacle has suddenly been removed, he becomes terrified. It was my way of showing that all ego is always a shield.

How authentic is any of this? I have no idea. I’d say it’s as close to the bone as I could cut. But when you’re sawing off your own arm, you might think you’re halfway done and look down to discover you’ve barely pierced the bicep.

How do young people end a memoir?

Jerry: In memoir writing workshops, many young people are nervous about writing memoirs because their lives have not arrived at the conclusion. For example, if an author had not yet married, how would they reach closure on loneliness? You seem to have addressed this problem head on, but not with a simple answer. You use a variety of literary devices to reach a conclusion. The strange thing is that you reach the end in several ways: with a relationship, with a long footnote (huh?), and with the publication of “this very book.”

Your ending was a send-up of memoir endings, and like your joke about discussing false memoirs in a false scene, you are ending the book with a variety of ways to end the book. I’m amazed that you have so much interest and passion about the form that you are sending up the whole structure of a memoir. Your youthful craziness is applied so beautifully to this writing challenge it makes me proud to have been young once. Thanks for this fun exploration of story form.

Stephen: You’re welcome.

Extreme Meta

Jerry: Your memoir takes the prize for meta- a book about itself. I told my writing group about the concept of your book, not really expecting them to understand what I was talking about. The moment the first sentence had left my mouth, they cracked up laughing. Your publisher apparently liked the joke, too.

Books that were huge in the college scene in the 60′s often had this self-referential or ironic or self-aware humor. An example that comes to mind is Catch-22 with all of its paradoxes, like the fact that Major Major Major was bullied because people thought he was being arrogant, which turned him into a recluse and yet also promoted him to becoming a major.

Just as the ironies and paradoxes did not detract from the serious points of Catch 22 (war stinks, power corrupts), I felt that your humor did not interfere with your serious points about the difficulties of growing up, the hunger of the aspiring artist, and the urgent relevance of compassion lurking within your devil-may-care attitude.

Do you find that self-referential humor is still a hallmark of college reading? Has the meta thing struck your college audiences as a big deal? Have you decided to hang your hat on meta, or do you think you’re just passing through?

Stephen: While I certainly don’t think the obsession with self-referential humor is anything particularly new, I do think the generation I’m a part of just finds it really engaging and useful given the times. Aside from that, books that call out people’s bullshit will always be popular. I remember reading “Catch-22″ and just being floored. Same with “Slaughterhouse-Five,” and “Breakfast of Champions.” Young people just like to hear that the old and wise are actually old and unimaginative. It gives us hope that we can do better. As far as “meta” goes, I think that label is basically a buzzword. If you read my book, you do discover fairly quickly that for all its meta posturing it is as old-fashioned and classic a story as there is: young man on journey faces obstacles, ponders love, loss, friendship. It’s as sweet and simple as it comes, and that story will never go out of style.

It’s possible my next project will also be thoroughly meta, but that’s OK, I think, because it will be meta in an entirely different way than “Publish This Book” was. When it comes to choosing projects I will be driven entirely by my own inner angels and demons (with the possible influence of loads and loads of cash money).

Notes

Visit Stephen Markley’s Home Page

To read my review of the book, click here.

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Stephen Markley Interview Part 3: Satire, Truth, and Risk

July 16th, 2010

by Jerry Waxler

When you publish a memoir, you expose yourself to a variety of risks. In addition to the obvious one that not everyone will like your work, there are others, such as mistakes of memory, exposing vulnerable areas of self, and annoying relatives. If you want courage to balance on the high wire of your own memoir, look for inspiration from those who have gone before you. Take for example, Stephen Markley, author of  “Publish This Book.” He is a risk taker of the highest order. In this part of my multi-part interview, I ask about his willingness to take risks in his writing.

Jerry Waxler: There have been a few huge media dustups about memoirs that were demonstrated to have introduced major factual errors. You discuss this interesting topic when shown were teaching a classroom full of young, under-educated children. It’s a powerful scene, and the kids offer some of the cleverest commentary on false memoirs I have seen anywhere, but the whole time I was reading it, I thought my head was going to explode, like that robot in the original Star Trek series who short-circuited after the humans presented it with a paradox.

“These kids couldn’t possibly have said such complex things. You were faking the whole situation. Your memoir scene about false memoirs was false. Wait a minute. This book that I’m holding, ‘Publish this Book’ is supposed to be a memoir, meaning it’s supposed to be true. And you have a fictional scene in it about kids discussing false memoirs. Wouldn’t that make you one of those memoir falsifiers?”

I couldn’t tell whether to be pissed off or ecstatic over this mind-burn. Yes, I know that’s part of the joke, but it’s so complex, who in the world is going to get it? (Oh, wait a minute. I guess I did.) What do you have to say for yourself?

Stephen Markley: I honestly don’t see what there is to be mad about. I feel like the chapter’s intentions become clear at the outset when I’m describing my ex-Soviet bloc, John Birch-loving drug dealer. I’m daydreaming on the page about how I could possibly fake my own memoir and win the glory all writers know they desire. The point of the chapter is that “Publish This Book” is about a painfully dull guy told in an engaging way, and that, as I said earlier, anyone’s story has these moments. For instance, I’m sure James Frey may well have had a harrowing experience as an alcoholic, but instead of describing that, he made up this “willfully contrived” story that makes him out to be this James Dean-badass crack addict (I’m always baffled by people who defend “A Million Little Pieces” as “still pretty good” even though it essentially reads like a season of “24″ only less believable).

The invented parts of that chapter are nothing more than a fun device, a way of discussing the serious and troubling implications of memoir fabulism without dropping a dull essay into the middle of the book.

I would like to somehow take a poll of the book’s readers to see how many of them actually got it (glad that you did). I’ve had many people ask me who the semi-famous actress I was sleeping with was…

Jerry: In fact, the whole book seems loaded with one risk after another. It’s too long. It’s too meta. It’s too political. You have this strange ending with multiple false starts that could be confusing for some readers. And yet it works. I guess that’s one of the hallmarks of humor, that you have to take risks and if someone doesn’t get it they think you are just being stupid.

In Joan Rivers’ memoir “Enter Talking,” she reports that in her early days, while she was still trying to make it, she went on Jack Paar’s television show. The audience loved her but Paar didn’t get it. He said “I didn’t believe a word she said” and refused not only to bring her back on the show. He refused to talk to her again. I already know from your book that you have had similar experiences with people confused by your intentions.

I am inspired by the fact that you keep trying to push forward and just focus on those people who do get you. I think all performers could learn a lesson from this sort of courage, to focus on the people who love you and ignore the ones who don’t. What sort of self-awareness do you have about this aspect of your courage to write?

Stephen: This goes to pretty much the heart of any kind of writing, no matter the form. There have been some really harsh reviews of the book, and I admit, when I first read these, my gut sank. But the kind of writing I do–and the kind of writer I want to be–is pretty much predicated on the idea that I am going to swing for the fences more often than not. What some call fearlessness, others will call dreck, and there ain’t a whole lot I can do about that.

To some degree, you have to be responsive to an audience–after all, I’m not just writing for myself. So I do listen to criticism and I do read what the people who despise me say. But on the other hand, I think being even a boring writer takes a pretty thick skin. I know a lot of people who simply haven’t developed the callouses they’ll need to see them through. However, if you want to be an entertaining writer, if you want to take chances pretty much every chapter (and when I was getting critiques from my writing groups, it felt more like every other page), you’ll need that thick skin more than ever.

One of the most personal parts of the book (and some of my friends told me it was one of the most interesting) are the chapters where my professor Steven basically tells me the book is terrible and he’s questioning if I’ve been faking my persona all these years. When all that actually happened, it really sucked, and I was pretty hurt. Then, when it came time to finish the book, I realized I had to put it in because it was so central to the conflict of writing the thing. It would have been so easy to take the coward’s route and leave those chapters out (not to congratulate myself or anything), but by keeping them in and inventing a fun device to jazz up what amounted to an e-mail exchange, I basically offered up one of the most devastating moments of my writing career for everyone to read.

For a long time I thought it might be an epic mistake (especially when I sent the finished manuscript to Steven), but whatever–you only live once, and Heaven sounds boring anyway.

Notes

Visit Stephen Markley’s Home Page

To read my review of the book, click here.

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Stephen Markley Interview Part 2: Humor and Politics in his Memoir

July 13th, 2010

by Jerry Waxler

“Publish this Book” by Stephen Markley is funny from the first glance at the cover to the last page. His quirky, irreverent style of humor does not work for everyone, which is evident from the hate mail he regularly receives. But it works for me, making it one of only a handful of books that have ever made me break out into a belly laugh. In this part of my six part interview, I ask Stephen more about being funny, and about including his politics. In a later section of this six part interview, I will ask him to comment on taking so many risks in his writing.

Humor

Jerry Waxler: Your writing is really funny. A number of times I found myself laughing out loud, or muffling it so my wife didn’t think I was losing my mind. I only rarely get a belly laugh from a book, but when I do, it is a real treat. I remember years ago cracking up in a waiting room reading John Steinbeck’s affectionate account of his dog in Travels with Charley. And I enjoyed the laughs I got from a Dave Barry book, who you said was at one time one of your literary heroes. But it puzzles me how any writer could learn this skill.

Joan Rivers (“Enter Talking”) and Steve Martin (“Born Standing Up”) had to struggle for years to make people laugh. It’s a daunting goal. But at least a stand up comedian knows whether or not the joke worked. A writer doesn’t have that kind of feedback. Do you remember how you learned to get people to laugh at your writing?

Stephen Markley: Writing funny is hard, for the reasons you just mentioned, but also because people have very different ideas of what they find funny. Believe me, as I’ve tried to write funny over the years, I get diametrically opposed reactions all the time. Someone will write me and say, “That was over the top!” “Not funny.” “You’re so juvenile, get a life.” And then I’ll open the next e-mail and it will be a girl telling me something I wrote caused her to laugh to the point of involuntary urination (I swear I have gotten this on multiple occasions). Therefore, all I can say is that much like a stand-up comedian, it’s been a lifetime of trial and error.

Jerry: Could you share a trick or two to help the rest of us steer towards this valuable skill?

Stephen: Yeah, probably not. All I can say is that over the course of my life, I’ve inadvertently become friends with a lot of people who are way smarter and way funnier than me. Once you’ve surrounded yourself with smart, funny people, you can steal everything they say, do, think, and believe, put it on paper and call it your idea. This is not plagiarism but rather a kind of mental osmosis. You just gather from the best sources, put it through the sausage-maker and out comes a really funny riff about a cussing baby trying to figure out what a human nose is.

Politics

Jerry: I thought that including one’s political leaning in a book would be strictly forbidden by the industry who wouldn’t want to piss anyone off. So I was surprised that you were so outspoken about your unabashed favoritism towards Obama. (Was I dreaming or did you actually work Noam Chomsky into a conversation? I think it might even have been a pick up line?)

Stephen: Yes, a girl in a bar tells me she didn’t expect to hear Noam Chomsky quoted in a country song.

Jerry: Did you have to struggle to assert your political position? Did your publisher give you any sort of feedback or pushback about it? What sort of feedback do you get from readers?

Stephen: I never struggle to assert my politics because I think about them constantly and they’re just part of who I am. For instance, I get really pissed off at myself when I use a plastic coffee stirrer because it’s a petrochemical product I’ll use once and then toss out, thus providing financing to petro-dictators and their terrorist affiliates while deepening our energy crisis. I once kept a single plastic stirrer in my desk drawer for seven months to avoid this guilt, but it got gross.

The point is not that I’m insane (although I might be), but that I no more could have written this book without including my politics than I could have written it without including my passion for writing. They’re both just parts of me that belonged. As far as the publisher, yes, I did get pushback at first, but as the book progresses, it’s easy to see why this political vein becomes more important (and plays in heavily to the fortuitous ending). I cut some of the more extreme animosity toward Hillary Clinton because a large chunk of the book was written during that primary when tensions were running high and everyone was a little crazy, but the rest stayed.

Readers tend to love it or hate it depending on their politics obviously. I recently got a letter from this guy in Florida who said he was a conservative Republican but he still loved the book. I asked him why, and he said everything but the politics spoke to him. So I guess it’s not a deal breaker for some people, but even if it is, like I said,I don’t particularly care.


Notes

Visit Stephen Markley’s Home Page

To read my review of the book, click here.

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Stephen Markley Interview Part 1: Launching from College to Career

July 8th, 2010

by Jerry Waxler

Stephen Markley, fresh out of college, decided to write a book about “publishing this very book,” a catchy idea which made it all the way from his imagination into my book store. (Read my review of “Publish This Book” here.) In this first part of a six part interview, I talk with Stephen about his transition from college into the working world.

Jerry Waxler: In my teens I read “Catcher in the Rye” and “Lord of the Flies” about the terrors of trying to grow up. In my early twenties I read books like Henry Miller’s “Sexus” about remaining a perpetual adolescent. But I had no literary heroes who actually grew up and became responsible adults. The absence of such role models may have contributed to my ineptitude at becoming an adult myself.

Flash forward 40 years: I am on the other end of adulthood reading your book about the complexities and anxieties of this life transition, joining you on your struggle to become a fully functioning career guy. I wondered if your book could have helped me, or more importantly could actually help a few people now who are struggling out of their college world and into the first leg of adulthood.

Did you read books in which this transition into adulthood helped you visualize where you were heading, or did you notice the same gap I did?

Stephen Markley: I certainly didn’t think of it that way at first, but since the book has come out, I’ve realized there really is a pretty noticeable gap of reading material about this life stage. I’ve since read a pretty awesome book by a guy named Keith Gessen called “All the Sad Young Literary Men,” and I think guys like Dave Eggers and Chuck Klosterman definitely speak to that moment in life, but as far as literary influences for “Publish This Book” I promise I had no overt ones.

Jerry: Were you conscious of this book fitting into that space?

Stephen: At first, not at all. It wasn’t until about halfway through that I began to realize I wasn’t just writing about trying to publish a book but also about this moment in life that it turns out is very, very familiar to people. After reading the first three chapters, a fortysomething guy in my writing group said, “This reminds me so much about my life after college, it’s eerie.” It meant nothing to me at the time, but it turns out that was an important moment in the book’s development.

Jerry: Have you heard from readers who appreciate this empathy for their own struggle to boost themselves across this threshold?

Stephen: Absolutely. The bulk of the e-mails and Facebook communiqués hit on this point first and foremost. People note moments in the book that they recognize from their own experiences: hating their jobs, not finding a job, being broke, struggling to figure out what they want to do, missing college, ending things with a significant other. People love to get these things off of their chests, and I think I just managed to articulate it well enough that it resonates with people living through a certain time and experience.

Jerry: Have you had feedback from readers who recognize the gift you are offering them of a sort of confused flawed role model on the journey towards “real life?”

Stephen: Well, “gift” may be a strong word. As I wrote the book, it wasn’t until I was 100,000 words in that I actually knew it was going to be read by anyone, so I generally didn’t think of myself as offering a gift so much as just generally bitching. Bitching humorously, but bitching nonetheless. Still, there’s a lot of bitching going on in anyone’s life, so it’s easy to empathize. I offered myself not as a confused, flawed role model, just as a guy who has problems like anyone and dreams like anyone. I worried in the book that my story was too normal, too uninteresting to merit attention (there’s a whole chapter on it), but I think that’s what makes people write to me and say, “Hey, man, this exactly what I’m going through right now.” Because most of us just have normal American lives, but even those normal lives are full of drama and conflict and hope and tragedy and hilarity and intrigue and wonder.

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Publish This Book: The Unbelievable True Story of How I Wrote, Sold and Published This Very Book by Stephen Markley

July 5th, 2010

by Jerry Waxler

Scanning the memoir shelves at Barnes and Noble, I picked up a book I never heard of called Publish This Book by Stephen Markley. The subtitle tickled my imagination, “The Unbelievable True Story of How I Wrote, Sold and Published This Very Book.” Interesting! I kept reading the cover copy. The author is 24, a surprising age for a memoir writer. I flipped it open to sample the style, and liked what I saw. So I bought it.

Many new memoirs languish on my reading pile for months. Markley’s book, with its promise of irony, suffered no such fate. I began reading it almost immediately. And unlike many other memoirs that I set aside after 10 or 20 pages, “Publish this Book” never stalled out.

I loved the style and sense of humor (I laughed out loud quite a few times), and kept finding fabulous observations about the human condition and the project of writing a memoir. I made it all the way to the end, where there was one more test to go. Would I recommend it to others? Absolutely! I was delighted with the experience, and felt it was a worthwhile read.

Almost four decades ago, I too struggled to make the transition from child to adult, a nerve wracking period filled with confusion and bad choices. Much of my life since then, I have been trying to make sense of the chaos of college during the Vietnam War and the post-college hippie detour. Many years of therapy helped, but my best leap towards understanding came when I turned my life into a story. I find that reading and writing memoirs is the best way to make sense of a life. And even though “Publish this Book” takes place now, in the twenty-first century, it provides fascinating glimpses into the mind of a young man trying to become an adult.

In addition to helping me understand my youth, the book provided a window into today’s world. It’s crazy out there, and instead of Vietnam, there are many other obstacles. “Publish this Book” helps me see this world through younger eyes.

And finally, I imagine college kids themselves would appreciate it. After all, Markley recently emerged from those hallowed halls himself. If I was that age, I would be interested in knowing what to expect. I looked on Amazon to see what other readers thought. Several reviewers liked it as much as I did. The reviews were sort of “positive flames” ranting about how great the book is.

I’ve decided this book ought to be the next Big Thing and the author Stephen Markley ought to become a cult hero, as embedded in our cultural canon as J.D. Salinger or Kurt Vonnegut, who captured the anxiety of being young and trying to grow up. So I had to hurry and interview Markley before he became too famous. It turned out he is as prolific and generous with his interviews as he is with his book. I will post his interview on my blog http://www.memorywritersnetwork.com/blog over my next several entries.

Notes

Visit Stephen Markley’s Home Page

More memoir writing resources

To see brief descriptions and links to all the essays on Memory Writers Network, click here.

To order my short, step-by-step how-to guide to write your memoir, click here.

To learn about my 200 page workbook about overcoming psychological blocks to writing, click here.

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