Five Questions with… Robert Rotenberg

Robert Rotenberg will read at IFOA on Tuesday, October 23.

IFOA: Who are you most excited to see at the Festival?

Rotenberg: Vincent Lam.

IFOA: The city of Toronto features prominently in your novels. If you had to describe the city in three words, which words would you choose?

Rotenberg: Disturbed, confused, bewildered. This comes from a Woodrow Wilson quote: “We live in an age disturbed, confused, bewildered, afraid of its own forces, in search not merely of its road but even of its direction.”

IFOA: Tell us about one book that changed your life.

Rotenberg: Old City Hall, my first novel—took twenty years to write. Or Race to the Moon—a picture book I read when I was about four…I think it was the first book I ever read.

IFOA: What’s one thing you wished you’d known 20 years ago?

Rotenberg: That it would take 20 years to get my first book published.

IFOA: Finish this sentence: If someone would just…

Rotenberg: Give me a plane ticket to Fiji.

IFOA: Bonus question: International Festival of Authors in one word:

Rotenberg: True (my 21-year-old son’s favourite word for everything).

For more about Rotenberg’s appearance at IFOA, click here.

Five Questions with… Stuart Clark

Stuart Clark will read October 25 and participate in the Charles Taylor Prize for Literary Non-Fiction Spotlight on October 26.

© Joy von Tiedermann

IFOA: In 2001, you left a position at the University of Hertfordshire to work full-time as a science journalist. What led to this decision?

Clark: I’ve always been fascinated with both astronomy and storytelling. So I followed an academic path to a PhD in research astronomy while in parallel, I pursued a writing career—I actually funded my PhD research by writing the cover copy for Star Trek videos in England!

As I experimented with my writing I discovered how powerful a strong narrative can be for delivering non-fiction. Ultimately, I decided that I could do more for astronomy by telling its stories to the general public, than by spending my career focused on researching just one tiny bit of it.

In the 17th century, German astronomer Johannes Kepler said, “The roads that lead man to knowledge are as fascinating as that knowledge itself.” As a science journalist, author and novelist I can tell both kinds of stories.

IFOA: What single achievement are you most proud of?

Clark: It has to be my Sky’s Dark Labyrinth trilogy. Having written non-fiction using literary techniques, I finally felt ready to cross the divide and approach it from the other way: fiction but closely based on fact.

Such “faction” as it has been called may have fallen from favour since its height in the ’70s but for the story I wanted to tell, I thought it was the best possible medium.

Science established itself as a cultural endeavour in the west just over 400 years ago through the work of astronomers such as Galileo and Newton. My ambition was to tell that story in the most entertaining way possible, placing the endeavour in its correct historical context.

I didn’t want to examine these great astronomers like scientific objects, nor deify them. I wanted them to live and breathe, and be the flawed humans we sometimes forget they were. So again a novel seemed like the best vehicle.

IFOA: If you could somehow transcend time and space, where and when would you go, and why?

Clark: Easy! Back to the late 17th century England, dressed in periwig and britches, and sitting in the ranks of the newly formed Royal Society listening to people like Robert Hooke, Edmond Halley, Christopher Wren and, of course, Isaac Newton.

This is the setting for the second Sky’s Dark Labyrinth novel, The Sensorium of God. The more I read about the times and the characters, the more I am amazed at the progression of thought during this era. Everything was up for grabs. Nature was now conquerable using mathematical analysis, and so they measured and questioned everything.

Science was born in the West at this point and shown to be a powerful way of making sense of the world around us. Our modern world derives from those meetings.

IFOA: What are you reading right now?

Clark: I have just finished The Night Sessions by Ken MacLeod. It’s a tightly written cross-genre novel (so ideal for me!). It is part crime, part thriller, part science fiction, rather Asimov-like in ambition but totally modern. What impresses me is MacLeod’s ability to juggle really big ideas about the nature of belief with down-at-heel detectives trying to solve crimes and drowning in paperwork.

IFOA: Finish this sentence: What surprises me the most is…

Clark: …how similar the scientific method is to storytelling. In a story, a hero is driven from his ordinary world into a special one, in which he must learn new rules in order to survive. At the end of that journey, he returns to his ordinary world with the power to solve the original problem, be it physical or emotional. Science is like this.

We transform nature into numbers through measurement and then enter the special world of mathematics. Those laws and equations transform our measurements into new knowledge that we can use to make more sense of the ordinary world around us. Mathematical analysis is like the magic forest of Shakespeare’s A Midsummer Night’s Dream.

IFOA: Bonus question: International Festival of Authors in one word:

Clark: Epic!

For more about Clark visit his website or readings.org.

The best of non-fiction at IFOA

By Janet Somerville

What an erudite, diverse and articulate group it was: Kamal Al-Solaylee, Modris Eksteins, Taras Grescoe, JJ Lee, and Candace Savage. The Hilary Weston Writers’ Trust Prize for Nonfiction Finalists appeared in conversation with host Rachel Giese on Sunday afternoon, framing their discussion around the idea of research and revelation.

[slideshow]

Each described their book in shorthand. Al-Solaylee said his memoir “came out of anger, frustration, and fear” and he exists in Intolerable in relation to his family and the politics of the Middle East during the past 30-40 years. Eksteins charmed the crowd, claiming, “I feel like the ancient mariner in this regatta of youth that surrounds me,” and noted that Solar Dance is grounded in the enigma of Van Gogh—”a miserable failure in the 19th Century who became one of the greatest successes in the 20th Century.” For him, “history is an explanation with a question mark at the end.”

Grescoe suggested Straphanger emerged from the trauma he suffered when his parents moved him from Jane Jacobs’ ideally walkable Toronto neighbourhoods to the suburbs where life depended on an automobile.

Lee entranced with an anecdote about his violent alcoholic father whose suit he inherited, which he used “as a playground, as an autopsy, as a shadow of my father” in The Measure of a Man.

Savage wondered if “maybe big sky and big silence promote deep thoughts” and that the difficulties she experienced in her beloved prairie landscape were “not an inconvenience, but an intervention” that inspired her to write A Geography of Blood.

Research took Eksteins to an archive that turned up “a chameleon fraud artist—a dancer-turned-art dealer who sold fake Van Goghs in the 1920s.” He mused that by imposing some “truth” about history that he is a sort of trickster himself, something that he has “struggled with all along.”

Two images that thread together Lee’s narrative are the suit and the knot. Noting that even on Bay Street men have “all of the buttons on their suit jackets closed when the bottom one ought to be left open,” Lee explained that in sartorial history that open button implied a certain way of living. Those men rode horses and, ergo, were wealthy. About the knot in his tie, Lee noted he was a half-Windsor man—that “intertwined discourse between father and son showed me what it took to be a man.”  What I found curious was that he appeared on stage in a bowtie, the half-Windsor a shadow memory, a subconscious way of distancing himself from his father’s influence, perhaps.

Throughout the hour the writers exchanged smart, snappy, thought-provoking commentary that made me feel that I’d spent an afternoon in the company of the brightest and best. As Eksteins reminded us, “Great literature stirs the imagination and feeds the soul.” The winner of the 60K prize will be announced on Monday November 12th and I honestly cannot predict who that will be, such a strong list it is.

Visit readings.org for more event listings. Follow Janet Somerville on twitter at @janetsomerville or on her blog Reading for the Joy of It.

It’s Time: art and science intersect at IFOA

By Brianna Goldberg

Albert Einstein once said, “the only reason for time is so that everything doesn’t happen at once.” If you’re not a physicist, it might be easy enough to read something like that, let your brain fold in on itself, and resolve that quantum physics are not for you. But if ever there was an antidote to the headache that is the scientific, spatial, and emotional concept of chronology, it was IFOA’s roundtable entitled It’s Time, held on Sunday afternoon.

© readings.org

Moderator Christopher Dewdney is a celebrated poet and non-fiction author as well as a font of bon mots on time. Dewdney balanced the conversation between two cutting-edge novelists and a non-fiction author, whose works all refer to the human experience of time, and resulted in a discussion that was equal parts artistically enlightening and scientifically surprising:

Kjersti A. Skomsvold’s award-winning debut novel, The Faster I Walk, The Smaller I Am, creatively stretches time forward and bends it back on the life story of a woman who attempts to defy anonymity in old age; Karen Thompson Walker’s The Age of Miracles depicts a world in which the slowing earth’s rotation is causing days and nights to grow longer—eventually lengthening into several days each of light and dark; and Claudia Hammond came to the table as a science writer and psychology lecturer with her book, Time Warped: Unlocking the Mysteries of Time Perception, resulting from extensive research into how we can warp time to our own advantage. (Which has some seriously useful tips!)

The novelists explained the concepts of time that inspired their works—Walker said her novel was a response to the 2005 tsunami, which affected the earth’s rotation to the point of decreasing the length of the day—as well as the challenges of writing about fictional worlds with alternate time structures.

For instance, Skomsvold said translators she met with in Indonesia, currently working on her novel, explained that in their language there is only one tense. “I almost wanted to cry!” she said, mourning all the time she spent working her protagonist’s story forwards and backwards with past and future tenses.

Hammond illuminated the novelists’ chronological concepts with anecdotes of real-life occurrences, tips on how to slow down time, and tales from the lab, such as an experiment where brain scans of patients told to think about “nothing” showed they can’t help but think about the future. An optimistic finding to think about, if you find you have the time…

Find out more about Goldberg on her website, or follow her on Twitter @b_goldberg. For more IFOA event listings, visit readings.org.

Five Questions with… Mark Billingham

© Charlie Hopkinson

Mark Billingham, author of Rush of Blood, appears at IFOA on October 23 and 24.

IFOA: If you could have lunch with one author, dead or alive, who would it be?

Billingham: Dashiell Hammett

IFOA: You are a stand-up comedian and a crime novelist—occupations that some people might be surprised to see together. What’s one thing they have in common?

Billingham: Punchlines.

IFOA: If you could have a superpower, any superpower, what would it be?

Billingham: Invisibility.

IFOA: Rush of Blood is set at a Florida Keys resort. Where is your favourite place to go on vacation?

Billingham: Anywhere I’ve got free time and books.

IFOA: Finish this sentence: If someone would just…

Billingham: … tell Elvis Costello he should let me sing backing vocals on his next album, I would be a very happy man.

IFOA: Bonus question: This year’s International Festival of Authors in one word.

Billingham: Spectacular.

For more about Billingham, click here.

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