Halo Arts Project Hosts "ASE: Seeing Spirit in Afro-Caribbean Art"

"First Generation" by Eustace Mamba (2024)

While it's always fun to see an exhibit with works by famous artists, a show doesn't have to boast familiar names to be engaging. Case in point: "ASE: Seeing Spirit in Afro-Caribbean Art" now on view at the former studio of John Sims on 10th Street in Sarasota. It's a show no art lover should miss. 

The exhibit features 30 works created by 23 artists and comes from the Petrucci Family Foundation Collection of African American Art. The Halo Arts website describes the concept behind the exhibit this way: "Ase (pronounced axe) is a Yoruba concept that exists across the African Diaspora. It has a dual meaning: both a spiritual direction, understood as 'the power to make things happen' and a vital life force..." The works in the exhibit are quie different in style and subject matter, but each goes back to this basic idea. 

"First Generation" by Eustace Mamba is the work I gravitated to first both times I've visited the exhibit. It is painted on an actual American flag, a choice that makes the work more impactful than a mere painting of the flag would be. A young woman holds an infant whose image is created in part from blocks of different colors. When combined with the title of the painting and the flag, the work seems to be a nod to the melting pot America has historically been. It's worth noting that Mamba himself is a first generation child of immigrants. For more on Mamba and his work, click here.

"White Noise, Let the choir sing a magnified silence
 (25 Affirmation)" by Morel Doucet (2020)

Morel Doucet's "White Noise, Let the choir sing a magnified silence (25 Affirmation)" is a striking photograph of 25 small ceramic figures. Doucet is both the sculptor and the photographer. Most of the figures have natural elements in place of human heads. There are seashells and starfish and coral and the like, all nods to the interrelationship between humans and the natural world. 

Then there are figures with safety pins for their heads.These works are unsettling, not only because they interrupt the artist's ode to nature. And that's Doucet's intention. The safety pins are a nod to the way humans and the natural world are entangled and to the threats that relationship poses to the environment. 

Doucet's choice of white porcelain as the medium is also intentional. A profile of the artist in "Plaid" magazine describes the intention behind his ceramic works as follows. "The concept of 'colorism' is strong here. 'Colorism' is a kind of denial of 'blackness,' both socially as well as physically with skin bleaching.This trend is widespread across the Caribbean. Also, ceramic is fragile, and Doucet connects that aspect of the work to the fragility of being black in America." To read the article in its entirety, click here. And for Doucet's website, click here. 

"Martiniquienne" by Ralph Chesse (1950)

I'll leave you with Ralph Chesse's "Martiniquienne," a work that made me think of the linoleum cuts of Elizabeth Catlett. (Click here to see Catlett's "Sharecropper" in MOMA's collection.) The similarity isn't only that Chesse and Catlett work in the same medium. Both artists imbue their subjects with a sense of strength and resolve and dignity. Chesse's Martiniquienne is taking care of business, whether she's carrying this produce to the market or home. She is erect in spite of what must be difficult conditions. Despite the lack of color, there's something about the image that makes me feel the sun beating down on her. The more time I spend with this work, the more powerful it becomes. 

Chesse was a multi-talented artist whose skills extended well beyond the canvas. He created a mural in Coit Tower in San Francisco for the predecessor agency to the Depression-era Works Projects Administration that can still be seen today. Chesse was also a puppeteer of some acclaim. He was the creator of "Brother Buzz," a children's puppet program that ran for more than 15 years in the San Francisco area. But his puppets weren't just for kids. They also "acted" in productions of works by the likes of Shakespeare and O'Neill. That is something I'd like to see. I am impressed by the scope of his talent. For more on Chesse work and life, click here. 

While there are many other works I'd like to share, I'll let you discover them yourselves. "ASE: Seeing Spirit in Afro-Caribbean Art" runs at John Sims Studio/Halo Arts Project through May 31. (Just to make it easy for you, the address is 1639 Tenth Street in Sarastoa.) The exhibit is open for visitors on Thursday and Fridays from 4-8 and on Saturdays and Sundays from 1-6. For more on Halo Arts Project and the exhibit, click here. And for more on the Petrucci Family Collection of African American Art, click here. Get there if you can! 

One Book One Community: Patrick Bringley on "All the Beauty in the World"

Patrick Bringley

Patrick Bringley was 25 years old when his younger brother passed away after a battle with cancer. Grief-stricken, Bringley couldn't face the idea of continuing to work in public relations at The New Yorker. How could he muster the energy to promote events when all he wanted to do was stand still? He quit his PR job and became a security guard at the Met. Ten years later, Bringley turned in his badge and wrote "All the Beauty in the World" about the experience. But I've gotten ahead of myself once again. 

Each year, the Sarasota County Libraries team selects a book as its One Book One Community selection. If you're not familiar with the program, the idea is for members of the community to read the same book and then participate in events related to the book's themes.This year's selection was "All the Beauty in the World", and the programming culminated with a talk by Bringley. Hearing from him was a real treat. 

All images photos of Bringley's slides 
Apologies for the quality and lack of identification 

Bringley shared that his first assignment at the Met was watching over works by the Old Masters. (Think artists like Rembrandt and Rubens.) The mood and themes of these works seemed appropriate given what his family had been through. In fact, he recalls his mother gazing at her dying son with adoration and lamentation as he laid in his hospital bed. "Look at us," she said. "We're a fucking Old Master painting." You have to laugh or you'd cry. 

How, you might wonder, did it feel to be in the midst of such great works of art day after day? Humbling, of course. But Bringley also felt like the people depicted in the paintings had become his friends.They certainly were good listeners. And, in keeping with his mother's comment, I can imagine he felt they could empathize with the loss his family had suffered.   

Before you start thinking the evening was a downer, let me assure you that it was not. Bringley also shared some funny stories from his time at the Met. Imagine, for instance, a visitor stumbling around in the Old Masters section when what he wanted to see was Van Gogh's "Irises." Bringley, standing watch over his wards, heard the man mutter, "GD it. I'm in the Jesus section again." I don't know how he kept a straight face. (As an aside, I can definitely feel the visitor's pain. One wrong turn at the Met and you're off on an adventure not of your choosing.)

And of course there were the occasional questions that revealed the visitor had no clue where he actually was. "Where are the dinosaurs?" was a popular one. Luckily for the visitor, all he had to do to see T. rex was take a bus straight across Central Park to the American Museum of Natural History. A bit more on point, although geographically more challenging, was "Where's the 'Mona Lisa'?" "Well, sir, you're actually on the wrong continent" is one potential response. (The "Mona Lisa" can be found at the Louvre.) Diplomacy is required on the part of the guards. 

I'll end this post with a couple of tidbits about the guards at the Met. Despite the best efforts of the Met's security system, there have been some thefts over the years. (Click here for more on that topic.) For many years, the Met issued the guards guns -- with live ammunition -- to combat against this threat. In fact, there was even an annual competition between the upstairs guards and the downstairs guards. Bringley never carried a weapon. 

Each guard is paid $80 annually as a sock allowance. You've got to take care of those feet when you're standing eight+ hours a day. He didn't share his favorite brand.

Some of the guards do more than watch over art; they make it. Sometimes they create visual art; other times their creativity takes the form of writing fiction, short stories or art criticism. Some of this work has been published in periodic editions of SWIPE Magazine. For a bit more on that undertaking, click here. The work shown here is a mixed media work made primarily from guards' uniforms. I love it. 

Thanks to the Sarasota County Libraries team for bringing yet another engaging author to our area. It was a thoroughly enjoyable evening. I'm already looking forward to the Off the Page celebration in November that will feature big name authors including Nathan Philbrick, Brad Meltzer and Kate Quinn. Keep an eye out for more on those festivities. And keep on reading! 

 

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Fiona Davis Talks "The Stolen Queen"

Kardashian with looted sarcophogus

I love a good literary festival, whether or not I've read the authors I'm off to see. Case in point: Hearing from Fiona Davis at the Southwest Florida Reading Festival. If you're not familiar with her work, Davis writes historical fiction inspired by iconic New York City buildings. 

Davis' latest is "The Stolen Queen" and revolves around a purloined antiquity in the Met's collection. It's safe to save that I never expected to post a picture of Kim Kardashian in my blog, but Davis got the idea for her novel after this photo from the 2018 Met Gala led to Egypt's reclamation of Nedjemankh's golden coffin, circa 1st century B.C. For a fascinating article about the post-Gala recovery of this stolen antiquity -- which came about in part because the disgruntled thief never got paid -- click here. But back to Davis' own story. 

Davis didn't set out to become a novelist. For a decade, she worked in theater in New York. (The production of "Wilder, Wilder, Wilder" in which she played Leonora was nominated for both a Tony and a Drama Desk Award for Best Revival.) She realized, though, that many actresses she knew were aging out of roles while the men were coming into their own. What to do (other than fume about sexism in the industry)? Somewhat hilariously, she took a Myers-Briggs test and learned she was best suited to be a journalist or a cop. It wasn't hard to decide which of the two careers to explore. So off she went to Columbia's School of Journalism.

Post-graduation, Davis had a gig writing for "O" magazine. She came upon a potential story involving the famous Barbizon Hotel (formerly the Barbizon Hotel for Women). She was fascinated to learn that, thanks to rent control, some of the residents paid a mere $250/month for their apartments while many owners had paid north of $15 million for their condos. She realized she had the beginnings of more than a story for the magazine. The result was "The Dollhouse," Davis' first novel. Her now trademark dual plotline enabled Davis to explore both what it was like to live in the building now and back in the day. 

Fast forward to Davis' latest novel, which she describes as "Travel and Leisure" meets Indiana Jones meets "The Devil Wears Prada." The dual timeline in this book moves between 1936 Egypt when a young Charlotte Cross joins an archeological dig and 1978 New York City when Charlotte works in the Met's Egyptian Art Department. Charlotte's passion project is researching the life and accomplishments of Hathorkare, a female pharaoh inspired by the real life Hatshepsut who ruled between 1479 B.C. and 1458 B.C. 

The action at the Met begins when an Egyptian artifact previously owned by Hathorkare goes missing during the 1978 Gala. Setting the novel in 1978 wasn't random. It was the year both the King Tut exhibit and the Temple of Dendur opened at the Met. It was also one of the many years when Diana Vreeland, a character in "The Stolen Queen," chaired the Gala. As a bit of an aside, it was under Vreeland's leadership of the Gala that the event morphed from an intimate fundraiser to the zoo which it has become. All of this history and more can be found in Davis' novel. 

For a bit more about "The Stolen Queen," click here for Davis' website. In addition to the somewhat obligatory book club kit, she has put together a scavenger hunt for objects at the Met that are mentioned in the book. Not wanting to make it too challenging, she's included the galleries in which the objects can be found. Fun! It's one of the outings on my "to do" list the next time I'm in New York. I am particularly eager to see the gorgeous and intriguing "Fragment of a Queen's Face" shown in the image above. 

Happy reading -- and exploring! 

 

Touring J.C. Newman Cigar Co. in Ybor City

J.C. Newman factory floor 

There was a time when the Tampa area was home to more than 150 cigar factories. The collective annual output of hand-rolled cigars by these outfits exceeded 500 million. That's a lot of smoke. Today the number of cigar factories in the entire country has dwindled to a single enterprise -- the J.C. Newman Cigar Co. 

J.C. Newman operates out of the historic El Reloj Cigar Factory in Ybor City and is still run by the Newman family. Tours are offered to educate visitors about the process of making both hand-rolled and machine-made cigars. It's a real slice of history. 

Rehydrating tobacco leaves

So much information was imparted to us over the course of the tour that I can only touch on a few of the highlights here. Where to start? 

It all begins with the tobacco. Most of J.C. Newman's tobacco comes from Nicaragua. In fact, the company has an operation there with more than 800 employees. The Ybor City location has a mere 150 workers.

Tobacco leaves that arrive in Ybor from Esteli have been dried. Before they can be used in the manufacturing process, they have to be rehydrated. This solitary employee had this task on the day we visited. I cannot imagine how mind-numbing this work -- crucial as it is -- must be. The job is even more isolating because his post is in the basement of the factory. Wait a minute. A basement in Florida? Yes, at an elevation of 40+' (a result of dredging), J.C. Newman's building includes a basement. Moving right along...

Filler room with worker checking the tobacco isn't rotting

There are three parts to every cigar -- the filler, the binder and the wrapper. No part of a cigar is more important than the others. The components have to work in tandem in order to achieve the desired taste. 

We got a peek into the room where the filler was aging. It looks a lot like compost, doesn't it? The tobacco is aged here for three to five YEARS before it's ready to be used. The longer the aging process, the more refined the taste. I'm jumping ahead, but once the cigars have been rolled, they "rest" for at least six months in a temperature controlled room so the flavors can blend. You can't be impatient if you're a cigar manufacturer. 

Working with a rehydrated tobacco leaf

The business of hand rolling cigars hasn't changed much over the years. Women tend to be faster because their hands are smaller. Still, their output is maxed out at around 120 cigars a day. By contrast, machines can pump out up to 5,000 cigars daily. Given this differential, it's no surprise that hand-rolled cigars are more expensive. The caliber of the tobacco is the other primary factor affecting the price of a smoke.

Speaking of money, every time we stopped to talk to an employee, our guide said, "We're costing you money today, [insert name here]." It was a bit guilt-inducing. I didn't specifically ask, but workers must be compensated based on their numbers. The lower the production the lower the company's -- and the employee's -- bottom line. Employees are aware of each other's numbers because each worker's output from the previous day is listed on a chalkboard for all to see. There's nothing like a little healthy competition to make people work harder. 

Roller at work

Almost every employee was listening to music or whatever podcast struck their mood that day on their ear pods. It's an effective way to stave off the boredom from the repetition of their tasks. But what about the days before this technology existed? 

Until 1931, J.C. Newman workers were entertained by a lector -- or reader -- who would read books to the employees. (If you've seen a production of "Anna and the Tropics," you're already familiar with this practice.) Our guide shared that some of the company's cigars got their names from these books, including "Romeo and Juliet" and "Monte Cristo." 

The practice ended because the company didn't have control over what the lector read. (This seems odd, but it's what we were told.) Female employees were offended -- and left the floor -- when he read "El Cornudo" ("The Cuckhold.") The company did not approve of "Das Capital" as a selection. No translation required there. In the many years between 1931 and the 1980s when portable walkmen came out, the workers must have engaged in conversation to keep themselves sane. Very civilized, but I suspect they lost some focus as a result. 

Given the inefficiency of making hand-rolled cigars, why do it? It goes back to the tobacco. People rolling by hand can use entire tobacco leaves in their process while machines can only accommodate shredded tobacco. Using an entire leaf ensures a more consistent taste throughout your smoke. 

Once the cigars have been produced, they of course have to be packaged. I enjoyed seeing the art on the cigar "cabinets" on display. (And here I thought they were just boxes.) For the past three years, J.C. Newman has collaborated with the LeRoy Neiman Foundation to use one of Neiman's paintings for the band around a special editor cigar and the related cabinets. This year's LeRoy Nieman Collectors' Edition cigars feature the painting "Jazz Horns." Purchasers of an entire cabinet received a lithograph of the painting in addition to the cigars. The cigars are $22/each, which sounds pricey to me. But the profits from sales of these cigars go to a good cause -- arts education in Tampa public schools. For more information on this collaboration, click here.  

And so concludes my foray into the world of cigar manufacturing. It didn't make me want to smoke a cigar, but it did give me a greater understanding as to why cigar making is considered an art. For more information on J.C Newman, click here. And if you're interested in an unusual outing, click here for their tours and other offerings. 

Taking the Scenic Route at Asolo Rep

We were treated to an excerpt from "Primary Trust."

While going behind the scenes at a theater might take the magic away for some people, I always enjoy a backstage tour. Having a better understanding of the process makes me appreciate a theater's productions all the more. So I was all in for a tour of Asolo Rep's Koski Production Center. I was especially curious to see what changes had taken place since I last toured the facility in 2019. (Click here to read about that tour, which featured the set for "Noises Off.") 

We began in the Coville Rehearsal Hall, an addition to the campus that opened in 2022. I've been there before for readings, but I never appreciated how special it is. The space replicates the size of Asolo Rep's mainstage, allowing the actors to get a sense of the dimensions in which they'll be working. Helpful, but here's the kicker. Thanks to this foresight in planning, the rehearsal hall can accommodate the set for any show. As a result, the actors work from Day 1 in the world in which they will perform. There's no "imagine there's a door there" or "now you'll be taking two steps down." This enables the cast to move seamlessly from the rehearsal hall to the stage for the final week of rehearsals instead of learning a new environment as they tweak their performances. Smart, efficient and unique in the industry.

John Anderson talks costume storage

Now that we've covered the rehearsal process, what about everything else that goes into a production? The actors of course have to be dressed for their roles, and the theatre has a huge storage area for costumes from past shows. The racks of dresses and pants and hats and shoes and more seem to go on forever. How, you might wonder, do they know where anything is? 

Thanks to COVID relief and a generous gift, Asolo Rep had the funds to hire people to photograph and barcode every single item in their costume collection. What an overwhelming -- but crucial -- undertaking. 

The information was compiled into a digital catalogue that can be sliced and diced by production, period, style and even costume. The info isn't only useful for upcoming productions at the theatre. Asolo Rep has a robust business renting out its costumes, backdrops and sets. The revolving train set for "Murder on the Orient Express" is one of its most popular rentals. I remember it well. Click here to see a promo for the show that showcases the set. But I digress. 

Flag from "Hair" 

Each production has a costume designer who determines what can be used from this inventory, what can be rented and what needs to be "built." To ensure the costumes created in-house can be used in the future -- be it for another Asolo Rep show or a rental -- they are purposefully designed to be altered. Smart, but a costume that's used in multiple shows eventually shows some wear and tear. This deterioration is exacerbated by the Actors' Equity mandate that any costume piece that touches an actor's skin has to be laundered after each performance. So what's done with the costumes when they've served their useful lives? In some instances, they're used to make scenery. Creativity comes in many forms.   

The flag seen in "Hair" is one example of this repurposing. This version of the Stars and Stripes was cobbled together from a curtain donation and costumes from the collection, including some old blue jeans. The frayed flag was a perfect image for the United States in the 1960s (when the musical was set) given our involvement in the Viet Nam War and the resulting discord and divisiveness among the populace. I'm refraining from further comment.

I'll leave you with this picture of one of the scenographic models -- dioramas in layman terms -- that greets visitors to the Koski Production Center. It was created during the scenic design process for "Anna and the Tropics." Having an actual set -- albeit a miniature one -- is useful for both the director and the lighting designer as they begin their work on a show. I'm glad the dioramas aren't disposed of once the show is over. They're a slice of theater history. 

And FYI, I didn't choose to include the diorama from "Anna and the Tropics" randomly. As you may recall, the play is set in a cigar factory in Ybor City, the "Cigar Capital of the World." My next blog will share some highlights from my recent visit to the J.C. Newman Cigar Company in Ybor. So stay tuned for that. 

Thanks to Asolo Rep for a fun and informative look behind the scenes at mounting a show. For information on what's on and upcoming at the theater, click here. Perhaps I'll see you there. 

Exploring the Everglades

It's been ten years and one month since I spent time in the Everglades (unless you count driving on Alligator Alley). You might wonder how I can remember when I last visited with such clarity. The aswer is easy -- there's a blog for that! Yes, I've been at this writing thing for a long time. Somewhat surprisingly there weren't any repeat activities from my earlier adventure. The Everglades is a big place. 

Oscar and I started off with a kayak trip on the Turner River Paddling Trail in Ochopee. I was a little surprised when he said he'd booked a double kayak. I'm all for time together, but it could have been dicey. Fortunately, I've kayaked enough to feel comfortable with a paddle in my hands. The fact that we've had so little rain also worked in my favor. The water level was a full five inches lower than usual. So, had worse come to worst, we could have gotten out and walked and only gotten our calves wet. It also meant that I could literally dig in to move us forward on the very rare occasions I got us a bit, well, stuck. 

There was only one other couple on the trip, so it was easy to stay close to our guide. He shared all kinds of interesting information with us about our environment (which I immediately forgot as soon as we were on terra firma). What did stick with me was the number of gators in those waters. Just one look at this guy's smile tells you how friendly he was. Then again, he might have been smiling because he was contemplating how happy his next meal was going to make him... 

Here's a fun fact about gators that I hope I'll never experience firsthand. They're fast! They can swim up to 20 mph when they really need to get somewhere (like to a person who's fallen out of her kayak). Okay, that's speedy but not totally mindboggling. They are, after all, water animals. What seems crazy is that they can run up to 15 mph on their stubby little legs. Sure, they might only be able to move at that speed for about 30 feet, but I wouldn't want to test that limit. 

Kayaking of course isn't the only activity you can engage in in the Everglades. We also visited Fakahatchee Strand Preserve and walked the Big Cypress Bend Boardwalk. The walkway took us from a very nice Visitors' Center (indoor plumbing!) to a gator hole where we watched an anhinga valiantly try to swallow a fish. Periodically he would take a break and smash his prey on the ground. I don't know if this was out of frustration or to confirm that his lunch was dead. In any event, eating his prey wasn't a skill he had yet mastered, and after about ten minutes we left him to it. I listened for a cheer from the other onlookers when the bird finally got his meal to no avail. 

My favorite tree hands down was what I dubbed the hugging tree. Oscar called it the "Alien" tree, which turned out to be more accurate. My Google search for the "crazy looking tree on the Big Cypress Bend Boardwalk" revealed that the tree is a strangler fig and is often referred to as "The Claw." Strangler figs, as you may know, got their name because the fig tree grows from the top down, wrapping itself around its host (in this case a cypress tree) until it eventually suffocates it. Nature can be brutal. 

And now for some art. (You knew it was coming.) No trip to the area is complete without a visit to Clyde Butcher's studio. The exterior display was a bit less impactful than it might have been because Historic Spanish Point hosted an outdoor exhibit of Butcher's work a couple of years back. Still, the works were striking. It was fun to see the sites Butcher chose to post on the markers, from "Gators 346 meters" to "Ocala National Forest 329 miles" to "Amazon 2383 miles." 

In case you're wondering, the photograph is a closeup of St. Vincent Island Driftwood. The most likely spot to find the gnarled wood is St. Vincent Island, a National Wildlife Refuge on a barrier island near Apalachicola. The island's shores are often referred to as a "Boneyard Beach" because of the bleached color of the driftwood. I'd like to visit sometime. 

Butcher's studio features his large format black and white photographs. They are gorgeous, but I'd seen many of them before in various exhibits. So what I particularly enjoyed was the timeline -- complete with photographs of course -- of Butcher's life. 

Butcher got his first camera when he was just eight years old. His family enjoyed visiting national parks, and he got his start shooting the great outdoors there. Despite his fascination with photography, Butcher decided to pursue architecture as his career. It was just more practical. He combined the two fields in his senior thesis on the use of photography in the creation of architectural design. His resume as an architect includes working on the plans for the Transamerica Building in San Francisco. It wasn't until Butcher was in his 40s that he visited Big Cypress National Preserve with his camera in hand. The rest, as they say, is history. 

With that, our adventure in the Everglades came to an end. I highly recommend the area if you're interested in getting up close and personal with nature. Let me know if you're heading there for a swamp walk. It's an outing that's still on my bucket list. 

Harlan Coben Talks Books at the Love Our Libraries Luncheon

With Harlan Coben

Author Harlan Coben kicked off his appearance at the Love Our Libraries Luncheon by sharing that he became a reader at a young age. Not a huge surprise. But how that came about was a bit surprising. Coben's parents used their local library as a babysitter. I can just imagine them cheerily saying, "Honey, we're off to dinner. The library's open until 9 so we'll pick you up then." 

Luckily (for him and his readers), Coben enjoyed exploring the library's offerings. That early love of reading led to Coben becoming a Writer (capital "W" intended). As of last count, more than 90 million copies of his 35+ books have been published globally. His work has been translated into 46 languages. He's the first author to win the trifecta of Edgar, Shamus and Anthony awards. And there are a dozen adaptations of Coben's novels on Netflix, with more in the works. Color me impressed.

Coben with Emily Walsh from The Observer

Given how prolific Coben is, it wasn't surprising to learn that he writes a book a year. He said that, like childbirth, it takes about nine months start to finish. He also said that like childbirth (so he's heard), some days he feels like he's glowing and other days he feels like a load from a dump truck has landed on him. He's always glad when he finishes up his latest book. He noted that some writers say, "I miss the characters from [insert name of last novel here]." To that, Coben retorts, "Shut up!" By the time he's done writing and editing his latest work, he's more than ready to move on from the lives of the fictitious people with whom he's become intimately acquainted.

As you hopefully are gathering, Coben is an animated speaker, and he often used funny stories to illustrate his point. Take, for instance, an old text chain between his wife and daughter he used as an example of how you might employ dialogue as a means of creating character. 

Mom: "Why are you home?"
Daughter: "Stomach not feeling well."
Mom:  "Mine too. Diarrhea?"
Daughter: "Bye." 

That exchange gives you a pretty good sense of their dynamic, doesn't it? It also made me think about the hazards of living with a writer. I for one am glad I don't share space with someone who might use the random things that come out of my mouth as inspiration or dialogue. But I digress.

For the aspiring authors at the event, Coben noted that he teaches an online class about writing a thriller. He went on to share his three keys to writing a book -- inspiration, perspiration and desperation. For Coben, inspiration isn't only kicking around an idea. It's feeling a need to communicate that idea to other people. He finds it annoying when people say they write for themselves. Isn't that comparable to being satisfied talking to yourself? 

Perspiration is of course actually writing. Not writing an outline, not hanging out at Starbucks contemplating the plot, and definitively not whining about the project. Okay then. As for desperation, it's the feeling that he's not fit to do anything other than write. Surely he has other marketable skills? Nope (at least not in his mind). He said he'd be a duvet cover if he wasn't a writer. Hard to visualize, but I got the point.  

As the conversation neared its end, Coben threw out an offer to include the name of someone in the audience in his next novel in exchange for a $10,000 donation to the Library Foundation. He warned that there were no assurances as to what the context would be. He or she could be a minor character or a bad guy or the person who ends up dead. In other words, buyer beware. Nothwithstanding the warning, it took less than a minute before a hand went up. I wish I'd gotten the woman's name to look for in his next book. 

Thanks to the Library Foundation for bringing another terrific author to its annual luncheon. It was great fun for a great cause. Support your local library!