3.3 In the Editing Room with Ruth Ozeki and Rebecca Evans (EH)

Ruth Ozeki, whose most recent novel is The Book of Form and Emptiness, speaks with critic Rebecca Evans and guest host Emily Hyde. This is a conversation about talking books, the randomness and serendipity of library shelves, and what novelists can learn in the editing room of a movie like Mutant Hunt. Ozeki is an ordained Zen Buddhist priest, and her novels unfold as warm-hearted parables that have been stuffed full of the messiness of contemporary life. The Book of Form and Emptiness telescopes from global supply chains to the aisles of a Michaels craft store and from a pediatric psychiatry ward to the enchanted stacks of the public library. The exigencies of environmental storytelling arch over this conversation. Evans asks Ozeki questions of craft (how to move a story through time, how to bring it to an end) that become questions of practice (how to listen to the objects stories tell, how to declutter your sock drawer). And we learn Ozeki’s theory of closure: her novels always pull together at the end so that readers are free to continue pondering the questions they raise.

Mentioned in this episode:

Listen and Read:

Audio: In the Editing Room with Ruth Ozeki and Rebecca Evans

Transcript: 3.3 In the Editing Room

10.5 The Novel as Instrument: Sinan Antoon and Michael Allan (MAT) Novel Dialogue

“I am haunted by history: the history of dictatorship, the history of empire, history as a whole,” declares the Iraqi novelist, poet, scholar, and literary translator Sinan Antoon near the start of this conversation about his most recent novel, Of Loss and Lavender. Sinan, speaking with Magalí and critic Michael Allan, goes on to say that “the novel allows for a more wholesome, in-depth confrontation with history.” That confrontation, in turn, requires narrative forms that are complex, sometimes fractured, and often non-linear in order to braid together a range of different perspectives on a particular moment or event. As Sinan observes in a discussion of the Arabic term nisyān—“forgetting” or “forgetfulness,” although its nuances in Arabic are not easily rendered in English—even memory itself is not static. And yet, shared histories of empire and imperialism make it possible to draw connections between far-flung locations, as Sinan does in Of Loss and Lavender by drawing together Iraq and Puerto Rico. From here, the conversation turns to the pleasures and challenges of translation, including some of Sinan’s choices when translating his own work into English. This includes the effort to make legible the nuances of race, class, and other forms of difference across contexts; although, as Sinan notes, much of his younger readership in the Arab world today is often well-versed in US culture. The conversation concludes with a discussion of Sinan’s frequent use of poems and songs in the novel, a device that points back to the multi-genre experiments of the premodern Arabic tradition, and a moving portrait of a teacher who transmitted to his students ideas about justice and equality despite the dictatorship under which he worked. Mentioned in this episode: About Baghdad The Baghdad Eucharist Mahmoud Darwish, In the Presence of Absence Darwish’s “Memory for Forgetfulness” (on nisyān) The Book of Collateral Damage Elias Khoury and the use of dialect in contemporary Arabic fiction Quebecois literature Breaking Bad Um Kulthoum Learn more about your ad choices. Visit megaphone.fm/adchoices
  1. 10.5 The Novel as Instrument: Sinan Antoon and Michael Allan (MAT)
  2. 10.4 Place Presents Itself To You in Fragments: Ivan Vladislavić and Jeanne-Marie Jackson (MAT)
  3. 10.3 Just Slightly Outside the Circle: Peter Orner and Sarah Wasserman (EH)
  4. 10.2 Beautiful Sentences Matter. Billy-Ray Belcourt and Matt Hooley (SW)
  5. 10.1 "Extreme Circumstances, Extreme Reactions:” Aaron Gwyn and Sean McCann (JP)

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