An Interview with Morgan Hunt, author of WE THE PEEPS

Ashland writer Morgan Hunt has written mystery novels, poetry, screenplays, short stories, and magazine articles, including Writer’s Digest. Her Tess Camillo mystery series won a Best Books Award (USA Book News) and a National Indie Excellence Award. Her poems have been published in the California Quarterly, San Diego Mensan, and she’s considered one of the Oregon Poetic Voices. Hunt’s short story, “The Answer Box,” placed as a Finalist in the 2014 Saturday Evening Post Great American Fiction contest.

Morgan Hunt grew up on the Jersey shore. She is a Navy veteran and a licensed ultralight pilot. She has lived with an aggressive form of breast cancer for more than 15 years.

We sat down to talk about her recently published novel We the Peeps, her first political novel.

EB: You’ve written in a variety of genres, mystery, poetry, short story and more. What prompted you to try your hand at “a political caper and wish fulfillment”?

MH: Well, I’ve been a political junkie for the past 20 years. In 2011 I was weighing whether to write a fourth book in my mystery series or to stretch myself as an author and attempt something more challenging. That summer the House of Representatives let their Stooges off-leash, and the “most powerful nation on earth” wound up with the nonsensical sequestration budget. I wanted to understand the causes of this political chaos. I read 17 text books on political science, civics, the history of the American Revolution, the Beltway insider game, etc. Rightly or wrongly, I convinced myself that by writing a political novel with appealing humor, I’d encourage Americans to think about their government, and thus I’d be part of the solution instead of the problem.

EB: I have to admit, I didn’t see the ending coming. Did you have it in mind all along?

MH: Glad I surprised you, Ed. I’m sure that’s not easy to do! The main concept behind the ending was in my outline all along, although certain details eluded me until I wrote the final chapters.

EB: You had several ordinary – or not so ordinary –folks as protagonists. How did you choose your ensemble?

MH: I wanted to balance the political leanings and geographic backgrounds of the revolutionaries. I also wanted an ethnically diverse cadre to reflect current American culture. A friend suggested I make each character a different Enneagram personality type. When I began the novel, I did so, but that was a launching point, a guideline. By mid-book the characters knew who they were and expressed themselves freely.

EB: You managed to make the story funny without devolving to slapstick and to have a message without being preachy. As a writer, how does one find that sweet spot?

MH: I’m both humbled and happy to hear that the balance I tried to achieve worked. As for finding that sweet spot– a dowsing stick or Geiger counter might help.

EB: Tell us about the title. I notice that the cover has a little yellow peep on it. What’s the symbolism?

MH: The title is simply a pun that stretches (much like marshmallow) between a popular American candy and the familiar phrase “We the People.” After I finished the first two chapters, I took a short break. Using PhotoShop I modified the Presidential seal by substituting a yellow Peep for the American eagle. The resulting image conveyed whimsy, humor, and politics, so it felt right. I asked the graphic artist to incorporate it into the cover design.

EB: What was the hardest part about writing We the Peeps?

MH: Trying to nail down my plot before the news cycle stole it! Several times I’d put something in the plot outline that then happened in real life. It’s nerve-wracking to turn on TV and realize you have to rewrite several chapters because what was previously confined to your imagination has just been reported on cable news!

EB: Have you sent the book to any local or national politicians?

MH: I’ve sent it to several political organizations such as No Labels and I figured actual politicians would be too busy to read anything other than position papers and polls for a while.

EB: What are some of your favorite political novels?

MH: I’m a huge fan of Christopher Buckley. I particularly enjoyed They Eat Puppies, Don’t They?, Supreme Courtship, and Boomsday. I also liked a novel called The Woody by Peter Lefcourt. If we open the question to favorite political fiction (v. novels), I’d include the films Dave, American President, and Wag the Dog.

EB: Thanks for talking with us. Don’t forget to vote.

MH: Thank you for this opportunity. And as Peeps revolutionary Glenda would say, “Vote? Hell, yes! That’s what empowered democracy is all about.”

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An Interview with Nils Nilsson

Nils J. Nilsson is the Kumagai Professor of Engineering (Emeritus) in the Department of Computer Science at Stanford University.

Nilsson received his PhD degree in Electrical Engineering from Stanford in 1958, spent twenty-three years at the Artificial Intelligence Center of SRI International and returned to Stanford in 1985 where he taught until 1995. He is the author of several books and numerous articles and essays on artificial intelligence and he was one of the leaders of the research team behind Shakey, a robot that reasoned from sensor data about its environment to react to dynamic worlds, plan courses of action, and learn from experience.

Professor Nilsson is a past-president and Fellow of the American Association for Artificial Intelligence, a Fellow of the American Association for the Advancement of Science, and a foreign member of the Royal Swedish Academy of Engineering Sciences. He is also a recipient of the IEEE “Neural-Network Pioneer” award, the IJCAI “Research Excellence” award, and the AAAI “Distinguished Service” award. Nils Nilsson and his wife, Grace Abbott, live at the Rogue Valley Manor in Medford, Oregon.

We talked about his 2014 book Understanding Beliefs, part of the MIT Press Essential Knowledge series.

EB: What prompted you to write Understanding Beliefs?

NN: This short book has a long history. I originally set out to write about how we know things. I first wrote an unpublished draft entitled How Are We To Know?. It was in the form of a dialog—actually a “quadralog” among a philosophy professor, a student, a robot designer, and a robot. I still have an online copy of it. But I learned a lot by writing this draft. Mainly I decided I wanted a full treatment of reality (is there such?) and truth (I don’t think there is such). I was informed in all of this by thinking of how robots acquire knowledge and beliefs. We humans, I maintain, are like robots (very complex ones to be sure), and therefore our attitudes toward beliefs (our “meta-beliefs”) should be similar to those of robots. Robots have no privileged access to reality; they only have their perceptual mechanisms and what their designers program into them. I think we are in the same boat.

EB: What are the biggest mistakes that people make in thinking about their beliefs?

NN: People are resistant to changing their beliefs in the face of contradictory evidence. They think many of their beliefs are “true” and place too much confidence in them.

EB: You mention that beliefs are like a fortress. Why is it so hard for us to change our beliefs?

NN: There are several reasons. To change one belief means that you might have to change others in order to keep them all consistent. Some of these others are deep beliefs that help define us. Another reason is that we think some beliefs are true. One doesn’t fiddle with “truth.” Another reason is that some beliefs are comforting—we’d like them to be “true.” For example, some people believe in life-after-death–it’s comforting.

What accounts for conspiracy theories?

NN: People who believe in conspiracies might be having a case of borderline paranoia. Or, beliefs about conspiracies might support other beliefs. For example, believing that JFK was killed by orders of the CIA supports a belief that the CIA runs things in this country. Some people believe in many linked conspiracies.

EB: Is it possible to perceive or access reality? Or is our experience with the world always through some model?

NN: I don’t think we can access reality directly. We access it only through our perceptual apparatus (augmented by scientific instruments, etc.), and our models usually influence what comes through. In fact, without these models, we couldn’t make sense of our perceptions. And what would it mean to access reality directly anyway? Reality doesn’t come equipped with tags describing what’s in it. Our models supply the tags, which we have invented to make sense of reality.

EB: What does your work suggest about the way we ought to be teaching science?

NN: I think my chapter on the scientific method would be a good start. But, I would want to expand it, revise it, and strengthen it if I were to try to write textbook on how to teach science.

EB: Any final thoughts?

NN: I think a lot of philosophy is hung up with notions of truth and notions about what reality is. My view of these matters simplifies things a lot, I think. Some philosophers agree with me, Daniel Dennett for example.

Thanks for talking with us.

You are most welcome!

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Armed Service Editions and the Birth of 20th Century US Paperback Publishing

A guest post by David Vonnegut Chambers

The creation and distribution of the Armed Service Editions (ASE) paperback books to soldiers fighting in World War II represents an important period of publishing history that benefitted not only US publishing houses, but the general war effort and the mental health of soldiers on the front lines. The ASEs distributed throughout the 1940s signify the beginning point of the paperback book industry in North America. By the end of the war, the ASE’s physical role in the second World War (WWII) had solidified the paperback book as a tested and economical format for future US book publishing, but it had also created a new white, male readership, positioning many soldiers for success in university and future careers back home.

David Vonnegut Chambers is a writer and photographer from southern Oregon. You can find his work at

Historical Overview

While other global militaries involved in WWII understood the importance of reading material and its affect upon soldier morale, many of these foreign powers involved in the war within European theaters (British, Germans, Soviets) failed to provide an affordable, portable alternative to the hardcover book during the war. But the United States military created hip-pocket sized paperbacks to provide ideas, education, and mental reprieve from war.[1] It was hard for the US government, at the outset of the war, to conceive of books as an integral part of wartime strategy.[2] But, by 1943, the United States Army Library Services (ALS) had begun to collaborate with the Council on Books in Wartime (an advisory group to the federal government composed of publishing industry leaders and professionals).

Thus, between 1943 and 1946, using an adapted rotary-press, the collaborative effort published 122 million copies of 1,322 paper-cover titles, specifically designed to fit inside the pockets of a G.I.’s uniform.[3] It was described by the Saturday Evening Post in 1945 as “the greatest book-publishing project in history,”[4] and it was the first instance when a nation put forth such a monumental effort to publish and distribute portable books for its military service. Before this, the Victory Book Campaign (VBC) had collected thousands of old, unwanted books in a monumentally sincere but unwieldy effort to provide US soldiers with reprieve from the mental and physical rigors of war.[5] Current scholarship has treated ASEs in the second World War as an isolated event, and according to Christopher P. Loss, this approach failed because it focused on the financial interests of the publishing industry while failing to account for the ideological role of book distribution to soldiers.[6] The creation of portable reading material for soldiers overseas was a technological and social innovation that not only helped the US to win the war, but helped to bring US soldiers home again after victory.

And, of course, ASEs did contribute to a budding paperback industry. In fact, it was the problem of soldier morale that led the sudden creation of a paperback book industry in the US. Before the problem of soldier morale overseas, neither the ALS nor the Council had truly possessed “the ability to transform copyrighted classic and contemporary bestsellers into portable paperback editions.[7] The distribution of ASEs was just as economically important for the future publishing industry (because it allowed prior experience and a degree of clout) as it was for US foreign policy and the national ideologies which celebrated the political and cultural differences between fascist, aggressive states and the US model of democracy.[8] Never before had a publishing endeavor covered such ground, and never before had books been ideologically positioned as “weapons in the war of ideas.”[9] At home, by the time the Council had begun working with the US military branches, the initiative also provided a limited form of “democracy in action,”[10] because the publishing industry was forced to put its reputation on the line in order to amend a Voting Act that had hampered book distribution with several months of outright censorship (an act sponsored by Senator Taft). All in all, however, the monumental publishing project—started by the VBC and expanded upon by the Council—had a core purpose: US soldiers wanted and needed reading material. The delivery of paperback books provided mental and emotional support for those on the front lines. One American soldier wrote to the Council while stationed in Italy, explaining that “there are many times when the only entertainment, relaxation, and mental stimulation is reading, so you can see how welcome the ‘Armed Services’ books are.”[11]

Distribution and Readership

Paperback books seem today like an obvious idea, an easy solution for the G.I. abroad: the physicality of war necessitated the removal of all “unnecessary”[12] items from soldiers’ packs in an attempt to keep them lighter and less cumbersome. Aside from the practicality of portable books, the real driving force behind paperback book printing and distribution to troops was money-savings and the seemingly democratic virtues of the mass-production of information. In 1939, less than two hundred thousand paperbacks were sold in the US.[13] Pocket Books was the first US publishing house to demonstrate that paperback bookselling could be profitable: this was achieved by printing smaller volumes that required less paper.[14] The Council on Books in Wartime (The Council) eventually collaborated with the US military to create specially-sized, foldable, pocket paperbacks.[15] The two-up style in which the books were printed, in two small sizes, with double columns and light paper (something dictated by material and technological constraints), required that the Council and the ALS collate titles more or less the same size and the same length in order to insure printing uniformity. Distribution, something that had plagued the ALS and the VBC in early years of the war,[16] was made easier by the uniform size and relatively light weight of paperback titles. Covers were specially-designed as well, in order to ensure soldiers that their copies were the same as the editions that their friends and family might read back home. The gaudy design featured images of the original hardcover, and also included a special form of rhetoric on the back, often a summary of the narrative in connection with its patriotic values, and how these coincided with those of the author.[17]

But titles varied widely. There was much more than just fiction. The Council included selections of history, science, philosophy, racier titles (albeit not racy at all),[18] as well as a slice of more “serious” literature, as decreed by the Council.[19] Ninety-nine editions of the ASEs were reprinted because they were so popular.[20] There was censorship by the army only when the leadership encountered something that seemed to “infringe” upon democratic ideals. Zane Grey’s Riders of the Purple Sage, as an example, was not included in either of the Council’s “long” or “short” lists.[21] Soldiers’ ASE paperbacks, following their distribution, were prized possessions: they were often traded, split, or swapped.[22] They were always cherished in moments of peace and quiet. Many authors received hundreds and even thousands of letters in response to their work.[23] In the case of Willa Cather, the ASEs cemented the author’s popularity well after her own death.[24]

While for many returning veterans the ASEs had only provided a distraction from the horrors of war, many soldiers who had read the paperbacks voraciously became a part of a specific, new male readership in a distinct period of American literary and cultural history. The Council, for its myriad motivations, had known how important the availability of knowledge was for not only troop morale but also for the course of the war itself. They could not have known, however, the change to come in the US education system following the close of the war, or how the returning soldiers would play their part in a changing model of education and a swelling of the middle class.[25] But the Council and the ALS overcame shortages of material, federal obstacles, and the task of distribution, knowing that the narratives they were shipping overseas were truly indeed “instrument(s) of power.”[26] And the soldiers were grateful: they all had a story to tell about the ASE publishing project, and most of these stories had a similar tone—“these little books are a great thing … they take you away.”[27] One soldier claimed that the distribution of ASEs in Europe to American serviceman was like “making it rain in the desert.”[28] Amidst the horrors of war, these small books were not only instruments of power, but instruments of salvation, of a sort.

Redistribution, Post-War, and the G.I. Bill

As fighting in Europe came to a close, soldiers were ready to go home. 400,000 troops were left in Europe to oversee the transition of power. Of the 3.4 million men who had fought on the European continent, however, 3.1 million were destined for the South Pacific theater. The islands were infamous, and most soldiers were less than overjoyed about their re-deployment. Morale began to suffer again, and so the army and the navy turned once more to the Council for redistribution in the years following 1945.[29] Distribution had increased that year, from 20 million books to 50 million books, but even that amount was deemed not enough. Soldiers were “starved” for titles, according to one officer in the Special Services Division (charged with, among other things, the triage of soldier morale). This same officer observed that there “never seems to be enough.”[30] One Lieutenant Colonel Trautman had noted that “when a soldier with a monthly pay of $55 is willing to pay 500 francs or 10 American dollars for the privilege of being next in line to read a particular Council Book they are pretty scarce.”[31] Trautman, on a visit to a platoon of combat engineers stationed in the South Pacific, had observed himself how precious remaining, readable ASEs were. This certain platoon had a collection of only ten ASEs, and the commander had ordered that men were to read together, in groups, so as to “reduce the wear and tear of multiple handlings.”[32] Facing down a lack of funding and an overwhelming demand, reprinting was ordered (sometimes numbering around 155,000 copies per print run), and the ASE paperbacks were created for the first time without stapled covers.[33]

As the American forces closed in around Japan, soldiers serving both in the South Pacific and Europe began to ponder their futures. As Molly Guptil Manning put quite plainly, “some men wondered whether it [home] would measure up to the ideals they had projected onto it.”[34] The idea of home, known for so long only by depictions that had provided sustenance overseas via countless narratives, was becoming unsure. While some soldiers simply wished to return to the same life they had left behind, some soldiers were especially concerned about future employment opportunities. During training, many enlisted men had enrolled in courses using “mathematics, science, and technical books,”[35] and they did not wish for this knowledge to go unused. While novels in the immediate post-war years did not provide fresh reading material for those still stationed overseas, troops in transition enjoyed a selection of new, practical titles intended to address the return to life in North America. Some examples include Darrel and Frances Huff’s Twenty Careers of Tomorrow, and Campbell and Bedford’s You and Your Future Job, printed at the behest of the Army.[36] Returning veterans were interested in a range of potential futures, including legal professions, entrepreneurial pursuits, and jobs that enabled economic growth: Huff’s Twenty Careers of Tomorrow addressed everything from working in plastics, fabrics, and recycling, to careers in publishing, television and radio, and the automobile industry.[37] Veterans were also, for the most part, critically aware of advances in medical technology, and many of them were inspired by select ASEs to pursue a career in medicine.[38] As the war drew to a close, the demand for ASEs dropped to around 15 percent of wartime ASE production.[39] By 1947, ASE production of fresh titles had ceased. Veterans and soldiers still serving active duty began to hoard and collect their favorite titles.[40]

President Roosevelt began planning to address the accessibility of higher education in 1944. College enrollment was something reserved for the upper middle class or the elite in US society at the time. The American Legion, a veteran’s organization, was responsible for drafting the “Serviceman’s Readjustment Act,” which became the “G.I. Bill of Rights” by June 22, 1944, when it was passed unanimously in the House and the Senate.[41] The bill provided counseling services, unemployment and disability benefits, as well as home and business loans, and two years of college or job training.[42] White men were the group that benefitted the most from the G.I. Bill, whereas women generally benefitted the least from the legislation.[43] The nonwhite, minority experience with the G.I. Bill was obviously different than that of white men, because of the segregated, racist nature of US society at the time. Nonwhite veterans often encountered the same “barriers to advancement”[44] that they had encountered before, even after enjoying the positive financial and educational benefits of the G.I. Bill back home. This topic requires its own paper, but scholars have so far concurred that black veterans who obtained college education through the GI Bill were more likely to become involved with the “struggles through which civil rights were won” in the US during the later 20th century.[45]

Veterans were successful in college, but their attendance was slow to begin.[46] Their eventual success stories would bolster the middle class and actually change the face of university and college education in the US. This breaking down of preconceptions about the eliteness of college attendance was one of the effects of the G.I. Bill, and it was of course due to the fact that many veterans were eager and well-read. Many veterans of this new, male readership were even excited enough about reading and writing in immediate post-war years that they began seeking the opinions of the Council with regard to their various book proposals, which were often centered on personal experience in wartime overseas.[47] This new, white male readership began challenging “prewar assumptions of who could benefit from a college education.”[48] Advertising in the immediate post-war years even reflects this shift in perception about college enrollment, but by the 1950s, advertising had shifted again to focus on family structure and consumer culture. But the role that veterans played in shaping higher education in the US cannot be understated. Images of the G.I. succeeding in a college environment provided the “average” American citizen with a new model (a more accessible model) of “social, economic, and cultural mobility”[49] that would ultimately foster greater civic engagement. Universities in the US began to transition more and more towards practical and vocational curriculum, and this was due, at least in part, to the demands of veterans studying and working within higher education.[50] The paperback book would continue to play an important role for publishing houses and a wide range of institutions within the US, and these small books are even more prolific in their availability today. Randall Stewart, in 1959 (then Chairman at Vanderbilt), probably captured their novelty the best: “You want to gather them up by the armfuls, put them on your shelves, and start reading (or re-reading).”[51]

In conclusion, it is important to grasp the importance of ASEs within multiple contexts. ASE creation and distribution represented timely technological and economic innovation by the publishing industry, and it also set a unique precedent of literary cooperation between the private sector, the public, and the US military. Not only did paperbacks take veterans “away” from the horrors of war—the portable books also helped to bring them home again. This appreciation for the written word, for the book, provided a solid base from which many white, male veterans could access vocational and educational resources. In a way, the paperback book has had no small role in helping along the development of a productive, civically engaged middle class, of which veterans comprised a healthy percentage.


    Abbot, H. Porter. The Cambridge Introduction to Narrative. New York: Cambridge University Press, 2008. Print.

    Chinery, Mary. “Wartime Fictions: Willa Cather, the Armed Service Editions, and the Unspeakable Second World War.” Cather Studies 6 (2006): 285-96. Web.

    Clark, Daniel A. “ ‘The Two Joes Meet. Joe College, Joe Veteran’: The G. I. Bill, College Education, and Postwar American Culture.” History of Education Quarterly 38.2 (1998): 165-189. Web.

    Hayes, Kevin J. “How G.I. Joe Read Stephen Crane.” Stephen Crane Studies 9.1 (2000): 9-14. Web.

    Mettler, Suzanne. Soldiers to Citizens: The G.I. Bill and the Making of the Greatest Generation. New York: Oxford University Press, 2005. Print.

    Lehman, Edward W. “Soldiers to Citizens: The G.I. Bill and the Making of the Greatest Generation, by Suzanne Mettler.” Book Review. American Journal of Sociology 113.2 (2007): 581-584. Web.

    Loss, Christopher P. “Reading between Enemy Lines: Armed Services Editions and World War II.” The Journal of Military History 67.3 (2003): 811-834. Web.

    Manning, Molly Guptil. When Books Went to War. New York: Houghton Mifflin, 2014. Print.

    Stewart, Randall. “Paperbacks.” College English, 20.7 (1959): 365-367. Web.


  1. Christopher P. Loss, “Reading between Enemy Lines: Armed Service Editions and World War II.” The Journal of Military History 67.3 (2003): 812.

  2. Ibid.

  3. Ibid.

  4. Ibid.

  5. Mary Chinery, “Wartime Fictions: Willa Cather, the Armed Services Editions, and the Unspeakable Second World War,” Cather Studies, 6 (2006): 288.

  6. Christopher P. Loss, “Reading Between Enemy Lines,” 813.

  7. Ibid., 825.

  8. Ibid., 828.

  9. Molly Guptil Manning, When Books Went to War, (New York: Houghton Mifflin, 2014): graphical front-matter.

  10. Christoper P. Loss, “Reading Between Enemy Lines,” 832.

  11. Ibid., 118.

  12. Molly Guptil Manning, When Books Went to War, 61.

  13. Ibid., 62.

  14. Ibid., 63.

  15. Ibid., 76.

  16. Christopher P. Loss, “Reading Between Enemy Lines,” 824.

  17. Kevin J. Hayes, “How G.I. Joe Read Stephen Crane,” 10.

  18. Mary Chinery, “Wartime Fictions,” 291.

  19. Christopher P. Loss, “Reading Between Enemy Lines,” 829.

  20. Mary Chinery, “Wartime Fictions,” 292.

  21. Christopher P. Loss, “Reading Between Enemy Lines,” 830.

  22. Mary Chinery, “Wartime Fictions,” 292.

  23. Ibid., 293.

  24. Ibid., 294.

  25. It is unfortunate that I am able in this paper only to generalize about white, mainstream North American culture and experience. I have chosen not to delve into the specifics of the nonwhite minority experience in this period, though any complete examination of male readership after WWII would require this.

  26. H. Porter Abbott, The Cambridge Introduction to Narrative, 2nd ed., (New York: Cambridge University Press, 2008): 40.

  27. Christopher P. Loss, “Reading Between Enemy Lines,” 833.

  28. Molly Guptil Manning, “When Books Went to War,” 118.

  29. Ibid., 162.

  30. Ibid., 164.

  31. Ibid., 162.

  32. Ibid., 163.

  33. Ibid., 168.

  34. Ibid., 170.

  35. Ibid., 171.

  36. Ibid.

  37. Ibid.

  38. Ibid., 172.

  39. Ibid., 178.

  40. Ibid., 179.

  41. Ibid., 184.

  42. Ibid.

  43. Edward W. Lehman, Book Review, 583.

  44. Suzanne Mettler, Soldiers to Citizens, 105.

  45. Ibid., 143.

  46. Molly Guptil Manning, When Books Went to War, 185.

  47. Ibid., 173.

  48. Daniel A. Clark, “The Two Joes Meet,” 175.

  49. Daniel A. Clark, “The Two Joes Meet,” 178.

  50. Ibid., 177.

  51. Randall Stewart, “Paperbacks,” 365.

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An Interview with Lisa Sandlin

Lisa Sandlin was born in Beaumont, Texas, and grew up in oil-refinery air, sixty miles from the Gulf of Mexico. She raised a son in Santa Fe, New Mexico, then moved to Nebraska where’s she has taught for the better part of twenty years.

Her work has earned an NEA Fellowship, a Dobie Paisano Fellowship, a Pushcart Prize, the Jesse Jones Award from the Texas Institute of Letters, story-of-the-year awards from Shenandoah, Southwest Review, and Crazy Horse. Her story collections are The Famous Thing About Death, Message to the Nurse of Dreams, In the River Province, and You Who Make the Sky Bend . The Do-Right, her first novel, has received starred reviews from Publishers Weekly and Kirkus, and Johnny Temple, the editor of USA Noir had this to say ““Thomas Phelan and Delpha Wade are unforgettable characters as gritty as the ramshackle office they inhabit. But their grit has soul, and plenty of it.”

We sat down to talk about The Do-Right.

EB: Delpha Wade spent fourteen years for in prison for killing a man who raped her and is starting a new life. Tom Phelan is a Vietnam veteran and neophyte detective looking for a secretary. As they each rebuild their lives, they solve a series of unusual cases in Beaumont, Texas, in 1973. How did you come up with the idea for this novel?

LS: I didn’t get my first tenure-track academic job until I was 45. I sent stacks of applications, bought a $300 gray flannel biz-suit, went to MLA conferences waiting for interviews in hotel rooms (sounds racy, doesn’t it? It isn’t.), and continued to work adjunct for $10K a year. Under-employment became such an issue that frustration sank in deeply. In writing, I follow where my subconscious leads, and clearly it had a lot to say about joblessness and starting over—because both characters aim to build a new life, and they carry differing amounts of anxiety about being able to do so.

EB: Tell us about the title. Why The Do-Right?

LS: That’s a colloquialism meaning “jail” or “prison” that I heard from my friend, a witty deputy sheriff in Georgia; as in “We sent him to the do-right.” (He also informed me about the designation “ticket-proof,” which he was—and that he owns only 12 guns because “more are gratuitous.”) Delpha’s served 14 years in prison. But now, on the outside, she’s wrestling with doing right according to her own lights. She carries hatred and resentment against those who hurt her, and she doesn’t necessarily buy the forgiveness-and-closure prescription.

EB: I confess that I had never thought of the 1970s as a noirish time, but you made it seem as gritty and foreign to me as the depression era. What prompted you to set the story in that decade?

LS: Simply, because I was young then, and I wanted the energy of youth. But thirtyish youth, not crazy-head teenage or blithe 20 year-old youth. Though I was raised white collar—my dad was a chemical engineer with Mobil Oil—once I was in college and after, I spent twenty years not even within spitting distance of that economic level. Memorable lines from those years piled up. Asked about a dramatic scar on his throat that descends onto his chest, a young kitchen worker points out quietly, “It all on my forward side.”

EB: Does the feel of crime change, decade by decade?

LS: It changes writer by writer. Agatha Christie had to use the drawing room settings and social classes she knew. Dashiell Hammett portrayed the private eye / Pinkerton man cleaning up whole corrupt towns. (Watch how he kills characters; everyone gets a unique death description). Raymond Chandler, famously, gave us a dark and lush L.A. and shady people, rich and non-rich alike. Mario Puzo stunned the public with Mafia ruthlessness. Walter Mosley’s Easy Rawlins not only solves mysterious crimes but also negotiates post-WWII America as a black man and a real estate owner on the down low. Dennis Lehane describes awful crimes that we all know happen, whose victims may find no help or redemption. Maybe it’s that some crimes, because of memorable perpetrators, seem to belong more to one decade than to another. Bankrobbing, Bonnie and Clyde, the 30s. Home invasion, Starkweather, the Manson Family, 50s and 60s. Heroin in Harlem, the 50s on. Drugs, 60s on. Murder, timeless. Alas.

EB: What sort of research did the novel require—about the 1970s, prison life, the detective trade, Beaumont, Texas, …

LS: I have a book on the detective trade, I read some library books on prison life. As far as Beaumont and the 1970s, I just had to double check geography, history, and phrases as I went along, since I had life experience there. (For instance, I asked a group of FB friends my age: Do you remember using the expression “Eat s*** and die” back in the 70s? One man answered that he had that on his helmet in Vietnam.) However, a whole lot of The Do-Right’s material is pure imagination, and the book probably has some howlers, to those in the know.

EB: There are two main characters in The Do-Right. Which one was tougher for you to write?

LS: Phelan, since he’s male. I have a mainline to Delpha.

EB: The relationship between Delpha and Isaac seemed important to her, to him and to his mother, and it seemed to fit the plot and character well. What prompted you to include that?

LS: Good question. After the isolation of prison, the dearth of choices, Delpha would be longing for some touch. I didn’t believe she’d choose a man who’d want to order her around or who’d put her into a public, complicated (to her) social environment that would require her to interact with lots of new people. Isaac doesn’t challenge her in these ways, and he himself has a need that speaks to hers.

EB: You have written award-winning short stories in the past. How is a novel different?

LS: So much more shape to keep in your head. I literally resorted to 3 x 5 cards to shuffle and sort scenes, though there’s a program that does this for you. You have to worry about the dead accidentally springing back to life. Yikes! You have to worry about scenes that cannot be consecutive because they don’t follow emotionally. There’s a time-passing aspect for the characters that has to be matched with real-life events such as Watergate and Hank Aaron’s homerun count and with fictional events.

EB: Will we see more of Miss Wade and Mr. Phelan?

LS: I’m working on that!

EB: Thanks for talking with us.

LS: I’m so happy for your interest. Thank you, Ed.

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Tell Us About Your Book Group

Ashland, Oregon, is rumored to be home to over two hundred book groups—that’s one for every hundred residents. We think that’s fantastic and want to learn more about who’s reading and who’s reading what.

So tell us about your book club. Send an email (edbattistella[AT-SIGN]gmail-dot-com), a Facebook message to Literary Ashland or post a reply below.

Oh, and we won’t share and information about you or your group. But we will summarize what we’ve learned at next year’s 2016 Ashland Book and Author Festival. Here’s the quick and easy survey.

1. Does your book group have a name? (and, if so, what is that name):

2. How large is your group?

3. What sort of books do you read?

4. Would you be interested in a follow up blog interview or radio interview about your group?

5. Do you ever invite authors to your book group?

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Literary Ashland Events for October

Thursday October 8, 7 pm Chris Scolfield, author of The Shark Curtain, will be reading at the Schneider Museum of Art.

Saturday, October 10, Southern Oregon Willamette Writers will host author Bill Sullivan for a morning lecture on writing for a living and an afternoon workshop on beating writer’s block.

Wednesday, October 14, Southern Oregon University will host the writer and activist Dr. Vandana Shiva at 7pm in SOU’s Music Recital Hall.

Thursday, October 15, at 5:30 PM in the Hannon Library Meese Room, Harry Fuller of the Klamath Bird Observatory will speak on Birds and Climate Change: The Canary in the Coal Mine.

Monday, October 19, Chautauqua Poets and Writers will feature Kwame Dawes at Ashland High School Mountain Avenue Theatre, at 7:30 pm.

Friday, October 23, Friday Wine and Words at Weisinger’s Winery at 6 pm, will feature M J Daspit, reading from her book The Little Red Book of Holiday Homicides.

Friday, October 23, on Literary Ashland Radio/KSKQ, Michael Niemann will interview James Phillips about his book Honduras in Dangerous Times: Resistance and Resilience.

Friday, October 30, 7:30-9:00 Oregon Poet Laureate Peter Sears will give a public reading at the Ashland Public Library.

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An Interview with Tod Davies, author of The Lizard Princess

photo by Alex Cox

TOD DAVIES is the author of two cooking memoirs Jam Today: A Diary of Cooking With What You’ve Got and Jam Today Too: The Revolution Will Not Be Catered and three tales in The History of Arcadia series: Snotty Saves the Day, Lily the Silent, and the just-released The Lizard Princess.

Tod Davies is also the editor/publisher of Exterminating Angel Press and Exterminating Angel Magazine. She lives with her husband, the filmmaker Alex Cox, and their two dogs, Gray and Pearl, in the alpine valley of Colestin, Oregon.

Tod Davies is a proud member of the Southern Oregon Literary Alliance, and you can meet her at the Ashland Book and Author Festival, October 3 at the Hannon Library at Southern Oregon University.

EB: I really enjoyed The Lizard Princess—and all of the Arcadia tales. But the three books in the Arcadia series seem to have very different audiences.

TD: Sheer illusion, Ed. Well, yes, they’re meant to LOOK like that. First a children’s book, Snotty Saves the Day, though with footnotes that make you think, “Wait a minute maybe there’s more here than meets the eye.” And then a YA novel, Lily the Silent, complete with teenage love story and romantic illustrations. And now the “literary” novel, The Lizard Princess. But really, in my head, the audience is the intelligent fifteen year old in all of us. I was that fifteen year old. At sixty, I am STILL that fifteen year old. By which I mean, the reader who wants to know answers to the great questions: “Who am I? What are we doing here? What should we do? What should I do?” The History of Arcadia books are meant, among other things, to be a genre questioning series. What if we grouped books by their values, by what issues they wrestle with, rather than artificially by age? I personally get more out of Madeleine L’Engle’s “children’s” books, and Ursula LeGuin’s “young adult” books than out of most contemporary literary “adult” fiction. Not all thank goodness. But an awful lot of it.

EB: What’s the attraction of fantasy and fairy tales to you as a writer? And do you think it’s the same attraction for readers?

TD: Fantasy and fairy tales express desire for answers to just the questions above, don’t they? They deal with issues of good and evil; they do not pretend, as we do too often in the modern world, that good and evil are ‘relative’ concepts, ideas that don’t really exist in the ‘real’ world. They get in and dig up our true desires as human beings, the wonderfully irrational ones as well as the tidily rational. They are a door to further truths about ourselves not necessarily accessible in the accepted discourse. And I think all serious readers hunger for those truths of imagination. I know I do.

Further—really great fantasy writing is about imagining a better world here and now. Tolkien. LeGuin. Octavia Butler. Imagining what may not be working here, and fantasizing about what would work better. What would satisfy desire. What would make us a better world.

I loved what a writer for Bitch magazine called this kind of writing: “Visionary Fiction.” That’s what I like to think I write. My husband always wanted to know why on earth I was writing fantasy, then, after reading Lily the Silent, he said, “I understand now. You’re using fantasy to engage with what you think is wrong with our world…and what could be right.” I got up at the dinner table and kissed him when I heard that. It’s more than that, of course. But that’s not a bad place to start.

EB: The stories and relationships are wonderfully complex. How do you keep it all straight? I feel like I need a genealogical chart.

Young Princess Sophy (art by Mike Madrid)

TD: I know, I know. Mike Madrid, who designs and illustrates the books, keeps wanting to make one—but we can’t just yet, since there are some surprises still to come in who parented who, in who is related to who and in what way. It’s a whole world out there that rushed in on me, and all these relationships just keep tumbling out. No lie. When I say in the books that the other world sends them to me, and is trying to communicate with our own, I’m really not kidding. All these people are alive. And moving around. Falling in love. Having children. Making choices. All these stories…it makes my head spin. I can only pray I manage to simplify enough so that the reader isn’t confused. Yikes.

Much of your recent work has been about food narratives and fairy tales. Are these interests related in some way? I wonder if food writing is a kind of fantasy or if fairy tales are a kind of ethnography. What do you think?

TD: Oh, definitely, definitely. All of the above. But even more: my food writing comes from exactly the same place as the fairy tales. The place that says: what do we really want? What really makes us happy as human beings? How can we work on making ourselves and our loved ones happier, and then, after that, the people around us? How can one individual finding out who they are and what they truly desire lead to greater good, greater happiness, for a wider group of people?

Of course food is the way you can meditate on these questions THREE TIMES A DAY. And at least once a day through wine! And all day…and all night…through imagination. Through Fairy Tales, or, even better, as Maria Tatar renamed them, Wonder Tales.

EB: I’ve been reading lately about the history of the Grimms’ fairy tales. The Grimms wrote that “Wherever the tales still exist, they continue to live in such a way that nobody ponders whether they are good or bad, poetic or crude. People know them and love them because they have simply absorbed them in a habitual way. And they take pleasure in them without having any reason. This is exactly why the custom of storytelling is so marvelous.” Would you agree?

TD: How awful to disagree with two men I admire so completely. I do sort of agree that “nobody ponders whether they are good or bad, poetic or crude” (except—ahem!—maybe the Grimm brothers and a few generations of critics). But I can’t agree that people love them without reason, because they are ‘habitual’. It seems to me you have to ask why they became habitual in the first place! My feeling is they are part of the warp and woof of life, and loved for that reason. The custom of storytelling is so marvelous because it opens a door to the great depths beneath the surface of our every day existence…our cultural consciousness, as it were. This domain is where needs, desires, deep feelings that have been pushed aside in our framing of the present culture still pulse with life. Storytelling—properly done—opens the door to these, in the form of symbols that can be taken in by us, personifying vaguely felt truths, playing with our present beliefs, and perhaps finally taking solid form as a new idea we may not have been ready for until the time it is most needed. And Goddess knows, we need some of those new ideas now.

Who are your inspirations as a fantasist?

TD: Ursula K. LeGuin is just it for me, for all sorts of reasons. Her imaginings always come from the position of the true Wonder Tale: what if? What if things were different? What if we knew what truly matters? Her images pack human desires and possibilities into images it’s almost impossible not to love. J.R.R. Tolkien, for the same reason. C.S. Lewis.

I’ll tell you an odd story. I was in a hospital in Headington, which is a suburb of Oxford, in England, having an operation. And as I went under the anesthesia, J.R.R. Tolkien and C.S. Lewis, wearing 1950’s business suits, walked across the hospital floor and bent benevolently over me, reassuring me that all would be well. I woke up after and told the doctors they needed to patent that formula! But here’s the very weird thing: years later I found out that both Tolkien and Lewis had lived walking distance from that hospital in the ‘50s. Isn’t that odd? No wonder I trust the truths of imagination!

EB: The illustrations add a lot to the story for me. How do you decide on the proper amount of illustration to go along with a story? How much is too much or not enough?

TD: The illustrations for both The Lizard Princess and for Lily the Silent are by EAP creative director Mike Madrid, and the best thing I can ever do is trust his taste and his inspiration. He always seems to have a total grasp of what I’m tearing my hair out trying to express. It never ceases to astonish me how intuitively he plans the illustrations to go with the text.

That said, I don’t want you to think there are no disagreements. Where would creative activity be without disagreements? But when it comes to the illustrations—both the number and the type—if there’s a major disagreement, the illustrator wins. I think that’s fair!

EB: On a totally different note, which Arcadian characters are your favorites? I have to admit a certain fascination with Devindra Vale and Aspern Grayling.

TD: Oh, gosh, I love them all. Sophia, of course, is my not-so-secret favorite. And Leef, her lemur. I love writing Livia, because she’s so thoroughly out front about what she thinks, and it’s not necessarily for the good of the world, those thoughts. Along with you, I love Devindra: she’s so rationally brilliant and femininely wise at the same time. And speaking of Aspern Grayling, I … well, we’ll have to see what comes next with Aspern and Arcadia.

EB: What’s next in The History of Arcadia Series? I’m hoping there is more in store for us.

Aspern Graying (art by Mike Madrid)

TD: Aha! I have to tell now! The next book is written by Aspern Grayling, my endlessly charming and self-regarding villain. It’s his Report to Megalopolis, an NSA style dossier of facts about Arcadia, for the use of the Megalopolitan Council of Four (which pays for the report with a generous grant for which Aspern is properly grateful, of course). As people inadvertently do, he’ll tell his own story as he tells his version of Arcadia’s.

After that, we’ve got planned a Megalopolis/Arcadia cookbook. One side filled with recipes from Megalopolis (calories counted! measurements made clear to the nth degree!), then you flip it over, and there is a cookbook from Arcadia. That will be major fun for me, and maybe make it a little more plain what food and fantasy have in common. After all, they both nourish us, the one feeding the body, and the other the soul.

Both, by the way, going very well with a glass of wine!

Thanks for talking with us.

TD: Thank YOU, Literary Ashland. And now, what about that glass of wine you promised me?

EB: On the way.

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An Interview with Chris Scofield

Chris Scofeld is a writer, teacher, world traveler, and cellist living in Eugene, Oregon, with her husband and two goldfish. She is a former special education, art, and preschool teacher who grew up in Portland and has lived in Cambridge, MA, and Puerto Angel, Oaxaca (Mexico).

Chris Scofeld has worked with Ursula K. Le Guin and Tom Spanbauer and she writes Young Adult, Literary and Adult Fiction. Scolfeld is being recognized this October by the Pacific Northwest Booksellers Association as one of ten new Northwest novelists. You can visit her website at

Chris Scofeld will read at the Schneider Museum of Art in Ashland on October 8 at 7 pm and at Tsunami Books in Eugene in November (together with authors Melissa Hart and Miriam Gershow). She will also be featured on a panel on young adult novels and identity at Wordstock this year.

We sat down to talk about her debut novel, The Shark Curtain, which features a startlingly original hero–Lily Asher.

EB: I just finished The Shark Curtain and really enjoyed the book. How did this story–and this novel– come about?

CS: Thanks, I’m pleased you liked it. I worked on SHARK, on and off, for years; I wrote short stories and started other novels when I wasn’t working on it . . . How did it come about? Inspiration, for me anyway, is two-thirds daydream, one-third memoir. After a while, your stories have lives of their own and SHARK was particularly tenacious. As for its heroine Lily, I’ve known her for so long time now, I don’t remember how we met.

EB: Lily Asher has an active imagination. Is that they key to surviving adolescence—or life for that matter?

CS: Lily has a hyperactive imagination but something else is going on too. Something bigger than her, something possibly “supernatural” for lack of a better word. In the past her visions and behaviors might have labeled her as possessed or even a witch. These days, she’d more likely be labeled autistic or schizophrenic.

Lily lives in and out of her skin. Throw adolescence into the mix, and it’s even more difficult to predict what she’ll do next. Despite her love for her family, her growing desire to be accepted at “the watering hole,” and her need to be free of the visions and behaviors that isolate her as much as give her comfort, Lily knows how painfully different she is. Thankfully she’s an artist and her art (stories, illustrations, shoeboxes) is a tool, a conduit, a way to hold on to her sanity as well as her uniqueness. While the end of the book is hopeful, it’s also troubling—she realizes she will always be an outsider and it’s clear the visions will do what they damn well want with her. She thinks she’s finally run off SOG (Son of God) but what about the writing on her frosty window? What happens when you’re ready to cut the crazy lose, but the crazy isn’t done with you yet? There’s lots going on in The Shark Curtain. I hope the readers will see beyond a weird kid acting weird.

EB: Are there autobiographical elements here? Are you Lily Asher?

CS: SHARK is as close as I’ll get to writing a memoir.

EB: You’ve set the story in the 1960s. I’m curious about that choice…

CS: I was 17 when I graduated from high school in 1969, so I know what the culture was for a teenager back then. I also thought setting Lily’s intimate struggles against such a big canvas of change, gave The Shark Curtain more depth. Lily struggles to be honest with herself and her family, just as the demonstrators and the disenfranchised struggled for truth and transparency in the civil rights movement and the Vietnam War.

EB: Can you tell our readers a bit about the title?

CS: It’s a metaphor that runs throughout the book. The reader is introduced to it in the first chapter when Lily watches scuba diver Mike Nelson (the fictional hero of the popular 50s-60s TV show “Sea Hunt”) confront a shark under water. The “shark curtain” is where the blurred water (along with its possible danger) finally becomes clear. It’s where the unknown and reality meet, where reality finally asserts itself.

EB: I was a young adult in the 1960s so the period details were a particular fascination for me: Sea Hunt, The Name Game song, Hai Karate, My Favorite Martian, Bonanza, and much more…. How did you research all that?

CS: I didn’t research the details , I remembered most of them. I was a TV baby and spent a lot of time soaking it up—from Edie Adams to the 1968 Democratic Convention. Up until my adolescent pot consumption got in the way anyway. Of course, when I wasn’t absolutely sure about something I googled it. Even so, one of my editors early on found a mistake. Basically I trusted myself on most of it. Writing is all about learning to trust yourself. AND your unconscious.

EB: Why did you choose the young adult genre?

CS: I didn’t. My literary agent didn’t pitch it as YA either, it was my publisher’s idea. Akashic Books wanted The Shark Curtain but they wanted it for their YA Black Sheep catalog. Akashic, along with editor JL Powers, got me excited about YA.

I’m not a YA reader but I’m becoming one. There’s wild, rich, genre-stretching stuff being written for YA readers these days, by some very talented writers too—established YA writers as well as popular adult fiction writers like Neil Gaiman and Sherman Alexie. Of course YA isn’t new: Jules Verne, Robert Louis Stevenson, JR Tolkien even Ursula le Guin wrote for “mature youth” long before that.

There are also beautifully written YA novels with an international, social justice focus—fiction and nonfiction books about young people caught up in war or racism or poverty, books with heart that are realistic but hopeful. The book blog is a great resource for both YA and children’s books like that.

My novel The Shark Curtain is considered YA-Crossover but the majority of my readers, and those attending my readings, are adults. That’s GREAT of course but I’d love to get teenage feedback on SHARK too.

EB: I’m an adult, more or less, but The Shark Curtain took me back. Did you also have adult readers in mind?

CS: Absolutely. Not only because it’s set in the 60s, but because of some of the questions SHARK poses. I don’t understand why some books with younger narrators are considered adult while others aren’t. Why were Extremely Loud and Incredibly Close and The Curious Incident of the Dog in the Night-time both marketed as adult fiction and The Shark Curtain wasn’t? All three books have teenage narrators and the stories are told in first person. All three books deal with serious matters—death, family, forgiveness, identity.

Of course those distinctions are made by people who know the business better than me.

EB: What’s next for you?

CS: It was suggested that I write (another) YA novel, which I am. It’s very different from SHARK. I’ve also been making notes on a contemporary western (adult) ghost story I started a while back. I’d like to finish an (adult) murder mystery I started too. All three projects—the new YA novel, the ghost story and the mystery are fun departures from being inside Lily’s head. I’ve never attempted a ghost story or mystery before—it’ll be a challenge to see if I can pull them off!

EB: You also are a short story writer. What the difference for you between novel writing and short story writing? Does one have certain advantages over the other?

CS: Big questions. Most of my short stories average between 15-23 pages so they’re not very short, and the longer ones are still in progress so, again, “short” is a relative term. I always write more than I need (backgrounds of characters etc) so novels are probably my natural strength. My Dangerous Writer mentor Tom Spanbauer once said to me, “I bet you’ve never had writers block have you? “ No, I never have. Knock on wood—writing is a mysterious compulsion and I don’t want to queer anything.

As a reader I love the focus of a short story, the way the author drop-kicks you into another world where every word and action counts, yet you don’t necessarily know what’s going on. If it’s well-written you’re quickly sucked in, you believe, you’re transported. Writing a short story is like being inside a stretched skin, a drum maybe. The walls are right there, there’s only so far you can go, but there’s so much music between here and there. Know what I mean? It’s all about control.

A touching, well-crafted short story is a beautiful thing. But then so is a touching well-crafted novel. They’re just different animals.

EB: What are you reading right now?

CS: I hope to start either The Buried Giant by Kazuo Isaguro, or The Book of Strange New Things, by Michael Faber tonight. New novels by two of my favorite writers. Lucky me!

EB: Thanks for talking with us.

CS: Thank YOU.

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An Interview with Gary DePaul

Gary A. DePaul has a Ph.D. and Ed.M. from the University of Illinois at Urbana-Champaign Department of Educational Organization and Leadership and completed his bachelor’s degree at the University of Alabama at Birmingham. He has two decades of experience as a manager and scholar of management, has worked as a manager in fortune 500 companies, and consults with organizations to improve leadership practices. He is a Certified Performance Technologist (CPT) and a CPT application reviewer and presents at such associations as the International Society for Performance Improvement (ISPI), the Society for Human Resource Management (SHRM), and the Association for Talent Development (ATD).

He recently published Nine Practices of 21st Century Leadership: A Guide for Inspiring Creativity, Innovation, and Engagement.

EB: How did you get interested in leadership? And what motivated to write Nine Practices of 21st Century Leadership?

GD: For most of my academic and professional career, I only had a casual interest in leadership. Even when I studied Situational Leadership® II and Servant Leadership, I hadn’t developed a strong interest. It wasn’t until I listened to James C Hunter’s The Servant Leadership Training Course audiobook that I realized that leadership is something bigger and more important than what I traditionally had been taught. Within a few months of listening to this audiobook, I started discovering new themes in leadership that radically differs from tradition themes. The more I learned, the more passionate I became about the research and discovery of what is involved in serious leadership thinking and practice.

EB: What did you discover in the course of the research?

GD: In the past thirty years, leadership has radically evolved from what we traditionally think of leadership. I contrast the difference by labeling the older way as traditional leadership and the new way as 21st Century Leadership. I identified 13 traditional leadership assumptions that can cause more harm than good. I also identified seven leadership principles, 26 new beliefs, and nine distinct best practices. Here’s some of what’s new:

    • 21st Century Leadership emphasizes interactions between leading and collaboration while de-emphasizing roles such as leader and follower.
    • Management involves accomplishing goals through others. That’s not what leadership is about. Leadership is about helping others mature their mental and moral qualities, capabilities, and behaviors. This is a fancy way to say that leadership is about building character.
    • Leadership is action that focuses on others and not yourself.
    • The practice of leadership is bi-directional. By helping others build character, you inadvertently build your own character.
    • Everyone can practice leadership regardless of role.
    • Sharing your own mistakes builds your credibility and helps others trust you more.
    • Leadership doesn’t reside in one person or one role. Fully evolved teams consist of everyone practicing leadership and collaboration.
    • Teams and organizations that are fully practicing leadership effectively are more productive and work in environments that promote safety, engagement, creativity, and innovation.

EB: What are the implications of this new thinking for large organizations?

GD: Several organizations provide leadership development for managers and executives. Not only do these programs exclude individual contributors, they tend to be more about management and traditional leadership. If organizations want to earnestly develop leadership within their ranks, they need to rethink who should receive leadership training, the training content, and how training is delivered.

In addition, those in charge of diversity initiatives and the strategy portfolio should leverage the principles, beliefs, and practices to improve their outcomes. Just as important, owners of diversity, strategy, and training should harmonize how they leverage leadership. Doing so greatly improves positive results.

EB: You introduce a series of metaphors: being a detective, doctor, guide, and gardener. What was your idea?

GD: At a glance, readers can gain insight into what’s involved in the nine best practices of leadership. At the very least, I want to stimulate curiosity so readers would explore why I chose a particular practice title.

Here’s an example of how I title one of the practices: In Develop Like Scouts, readers discover that this practice involves “scouting” for new ideas and talent. Think of a baseball or football scout. Teams need to search outside their team to find insightful methods, techniques, and resources that promote development and improve productivity. Sometimes, this is achieved by recruiting new talent to the team – talent that brings new ways of thinking about how the team works.

EB: Who is the audience for Nine Practices of 21st Century Leadership?

GD: The audience is anyone who wants to improve their leadership capabilities. Everyone can apply these leadership practices in their role, so the audience isn’t limited to managers and executives.

Another audience are researchers and scholars. In the book, there’s a wealth of sources to support researchers’ valuable work and their achievement in advancing the leadership field. In the book, I have about 80 quotations, more than 150 table notes, more than 400 endnotes, and more than 135 bibliography references, so there’s plenty for researchers and scholars to leverage.

EB: How is leadership different from management?

GD: If you survey 100 leadership experts, they’ll agree that there’s a difference between leadership and management. Ask them to explain the difference, most will have difficulty doing so.

Here’s the short and simple answer (I’ll blog about the long version in the next month or so):

Management serves three functions: Set goals, design, and monitor. This happens at three organizational levels:

    • Organization
    • Process (typically includes project management)
    • People

You could have executives managing the overall organization, process managers, project managers, and people managers. These management roles are formally assigned to employees by human resources (HR).

In contrast, leadership is something that HR cannot assign. Although you might hear some describe senior executives as having leadership roles, that’s inaccurate. Many executives fail to practice leadership regardless of having a leadership label. Everyone can practice leadership (or not) regardless of role or career level.

Leadership involves a set of practices that you apply to any process or action that is assigned to a specific role. For example, CEOs create and maintain the vision statement of a company. That’s a management task. Therefore, creating a vision statement can be accomplished with or without practicing leadership. A CEO not practicing leadership might create a vision statement during a retreat with his or her direct reports. That really isn’t how leadership is practice at the CEO level. However, a CEO that practices leadership might incorporate the input from employees at all organizational levels and leverage employees to refine, improve, and own the vision statement.

Here’s another way to think about this: Managers of people hire, fire, promote, demote, “micromanage,” conduct annual reviews, and increase/decrease pay (just a few managerial tasks). Leadership has to do with how you perform these tasks. How a manager acts when reviewing someone’s performance differs substantially depending if the manager practices leadership or not.

EB: What makes a good leader, or a great one?

GD: People who are good at leadership study leadership principles, beliefs, and practices and then attempt to apply leadership to their role. People great at leadership do the same. However, they also collect feedback (direct and anonymous) about how well they practice leadership. They then create one to two objectives to improve their leadership practices based on their feedback.
Those good at leadership casually and infrequently study leadership. Those great at leadership continuously strive to learn how they can improve and regularly set objectives for improving their leadership practices.

EB: You also talk about continual growth for leaders. Why is that important?

GD: Here are three reasons why continual growth is important:

    1. Arrested development. People tend to develop skills until they are satisfied. Once satisfied, they discontinue to develop. The challenge of leadership is that most people stop developing their leadership capabilities too soon and are, at best, partially successful at practicing leadership. Leadership is so complex, you would need a lifetime to really master the practices. However, mastering a few can substantially make a positive difference. Continue to improve and your impact will be extraordinary!
    2. Old habits. Anyone who studies habit theory knows that old habits never disappear fully. People can easily regress to old habits without realizing it. This includes practicing leadership. Anyone can slip back to using coercion or traditional leadership practices that are easier than practicing 21st Century Leadership.
    3. Evolution. In the past 30 years, the leadership field has radically changed and continues to evolve. I’m excited about the developments in the next couple of decades, and if you’re serious about practicing effective leadership, you’ll want to keep current with what’s developing in the leadership field. Doing so might make a substantial difference in how you effectively serve others.

EB: Thanks for talking with us.

GD: Thank you for this opportunity.

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An Interview with Alicia von Stamwitz

Alicia von Stamwitz is an award-winning freelance author and editor with the religious press. Her essays and articles have appeared in The New York Times, Publishers Weekly, The Sun, America, The United Church Observer, and St. Anthony Messenger. Among others she has interviewed Jean Vanier, Winner of the 2015 Templeton Prize, the Benedictine nun Sister Joan Chittister, Quaker activist Parker Palmer, art historian Sister Wendy Beckett, and essayist Kathleen Norris. In cooperation with the Vatican, she recently she compiled and edited two books of the writing of Pope Francis: THE SPIRIT OF SAINT FRANCIS: Inspiring Words from Pope Francis and THE BLESSING OF FAMILY: Inspiring Words From Pope Francis.

Alicia Von Stamwitz was born in Havana, Cuba, and now lives in Missouri with her family. You can follow her on Twitter at other visit her website to learn more.

EB: Tell us about the first book you worked on with the Vatican Publishing House: THE SPIRIT OF SAINT FRANCIS: Inspiring Words from Pope Francis. How did this project come about?

AVS: As you may know, after his March 2013 election Jorge Bergoglio chose the name “Francis” in honor of one of the most beloved figures in Christendom, Francis of Assisi. Within the first year of his papacy, many books were published on the pope’s life and words, but none focused on the intersection of the pope’s message vis-à-vis his chosen namesake. So one morning I decided to phone the Vatican to pitch the idea. I’d met the Vatican Publishing House editors several times at conferences, but I wasn’t sure if they’d remember me or whether they were the right people to talk to about this proposal. Still, I told them I was working with a Franciscan publisher in the U.S. and that we wanted to publish a compilation of the pope’s words on Franciscan themes like simplicity, joy, love for creation, the poor, peace, and so on. I thought we would have to jump through a million hoops to get permission to do this, but they liked the idea and said yes right away.

EB: It must be daunting to be the editor for Pope Francis, or any pope. Were you at all nervous about this project?

AVS: Not nervous, exactly. I’d say I was anxious to get this word-portrait right. On the micro level, the more closely I looked at the official Vatican texts of his writings and speeches—reviewing something like half a million words—the more often I saw that writers quoting the pope sometimes ignored the context or misinterpreted his words. Often, I could trace the problem to a poor translation. So I checked and rechecked the context of every quote, and I often went back to the original Spanish or Italian texts when the English text appeared to have an omission or error. I was very careful, and it helped to know that Vatican editors would review every word of the final manuscript—that was one of the terms of our agreement. On the macro level, I was anxious to reflect as accurately as possible Pope Francis’ core message and unique spiritual “accent.”

EB: You had to arrange and select the readings. What was your plan? How did you arrange items so that the whole collection would have a larger impact than the parts?

AVS: I began by reading practically everything Pope Francis has said or written since his election, which took me several months. It was overwhelming at first, but it was also fun once I started to recognize patterns and recurring highlights in his speeches and writings. I clipped the most compelling quotes and began arranging them on the floor of my office, color-coding the strips of papers and index cards thematically: blue for quotes on war and peace, orange for quotes on love and forgiveness, green for quotes on the environment, etc. I had no idea when I started if I’d end up with 5 chapters or 15. But as I selected and grouped what I thought were the best quotes—including a lot of his off-the-cuff remarks, which can be particularly revealing—an organic order began to suggest itself. Then I paired these piles with the primary themes associated with the life and legacy of Francis of Assisi. I ended up with 10 chapters that both trace the spiritual path and mirror the pope’s keynote: A real encounter with the Divine (chapters 1-3) leads to personal transformation (4-6) and positive action that makes the world a better place (7-10).

EB: Can you tell us a little bit about the second book, THE BLESSING OF FAMILY: Inspiring Words From Pope Francis?

AVS: This, too, is a compilation. I didn’t pitch this one to the Vatican; they came up with the idea and asked me if I’d like to do it in advance of the World Meeting of Families in Philadelphia this September. The process was the same, but it was not as intense because by this time I had a better grasp of the pope’s body of writings and speeches. This book gathers his nuggets on love, marriage, raising children, and caring for elderly parents. He obviously gets the struggles many modern couples and families face, so it’s not all pious stuff. For example, he says, “I always give this advice to newlyweds: ‘Argue as much as you like. If the plates fly, let them! But never end the day without making peace! Never!’ ” He also talks a lot about the importance of cherishing and caring for frail and sick family members, probably because he had first-hand experience with that. His own mother was paralyzed after giving birth to her fifth child, so twelve-year-old Jorge stepped up to help run the household.

EB: How did you settle into a career as a religion writer/editor?

AVS: By default. I tried teaching, twice, and I enjoyed working with kids but as an introvert I found it draining to be “on” all day. Fortunately, a friend recommended me for a bilingual editorial and sales position at a Catholic publishing house, and I knew shortly after taking the job that publishing would be a better fit. My employers, the Redemptorists, a religious order of priests and brothers, were incredibly supportive and generous: they helped me get a full scholarship to return to college and study journalism, and they set me up with a home office when I had my first child. By then, I was writing short articles for the house magazine and learning how to edit book-length works.

EB: Outside of Francis, who are your favorite authors?

AVS: Ach, an impossible question! But here are a handful that spring to mind, old favorites and new: Walker Percy, Graham Greene, Katherine Mansfield, Jim Shepard, Salvatore Scibona, Scott Russell Sanders, Brian Doyle, Bruce Lawrie, Naomi Shihab Nye, Wendell Berry. (I have links to some of my favorite short essays, articles and poems on my website under the “Notebook” tab.)

EB: Thanks for chatting with us.

AVS: Thank you!

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