gabrielle zevin

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Gabrielle Zevin has published six novels. Her debut, Margarettown, was a selection of the Barnes & Noble Discover Great New Writers program. The Hole We’re In was on Entertainment Weekly's Must List and was a New York Times Editor’s Choice. Entertainment Weekly wrote, "Every day newspaper articles chronicle families battered by the recession, circling the drain in unemployment and debt or scraping by with minimum-wage jobs. But no novel has truly captured that struggle until now." Publishers Weekly called the novel "a Corrections for our recessionary times."

Of all her books, she is probably best known for the young adult novel Elsewhere. Elsewhere, an American Library Association Notable Children’s Book, was nominated for a Quill Award and received the Borders Original Voices Award. The book has been translated into over twenty languages. Of Elsewhere, the New York Times Book Review wrote, “Every so often a book comes along with a premise so fresh and arresting it seems to exist in a category all its own... Elsewhere, by Gabrielle Zevin, is such a book.”

She is the screenwriter of Conversations with Other Women (Helena Bonham Carter, Aaron Eckhart) for which she received an Independent Spirit Award Nomination. In 2009, she and director Hans Canosa adapted her novel Memoirs of a Teenage Amnesiac (ALA Best Books for Young Adults) into the Japanese film, Dareka ga Watashi ni Kiss wo Shita. She has also written for the New York Times Book Review and NPR’s All Things Considered. She began her writing career at age fourteen as a music critic for the Fort Lauderdale Sun-Sentinel.

Zevin is a graduate of Harvard University. After many years on Manhattan’s Upper West Side, she recently moved to Silver Lake, Los Angeles.

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Anonymous asked:

Is there going to be a third book in the All These Things I've Done series because I need to know How her buissness goes, what scarlet names the baby, if win is still mad at her,when leos wedding is going to be, if noriko learns english, how fats is doing with the buissiness, if theos ok, what natty learns at genius camp, if anya goes to college, and much much more.

I answered:

The third book is called In the Age of Love and Chocolate, and it publishes at the end of October. Every single one of these questions is answered. But the story is really about what happens when someone who has always been incredibly strong finds herself in a position where she has to ask for help. The story is about being mistaken, and how a person can be both super smart and super wrong. The story is about recognizing how much real beauty and sweetness there is in life. The story is about love in its right time, and about the women who want more than love out of life. The story is not a dystopia—my darlings, it never was. 

It’s my favorite of the series, and I think even some of you who didn’t read or like the other two books might enjoy this one. 

P.S. To answer one of your questions… Scarlet’s baby is a boy, and my editor named him. I wanted a name that wasn’t one I would choose myself. He’s called Felix, which means happiness. 

5/85

Anonymous asked:

Hi! I have read memories of a teenage amnesiac so many times and I love James Larkin. Please write more about him

I answered:

Questions 2, 3, and 4 all involve James Larkin, the slightly Byronic, mood disordered, second love interest of Naomi, in Memoirs of a Teenage Amnesiac.

Like you—and perhaps you are the same person or perhaps you are three different people—I think about James from time to time. Every now and again, a character is a little too alive, and it is hard to remember that you didn’t know him for real. I once wrote him into a different book that I didn’t end up finishing. But I can tell you this: he is in film school at Columbia and he is all right.

He still gets depressed every now and again, but now that he is older, he is better able to deal with his moods. He thinks about Naomi occasionally, but never tries to contact her. The Christmas before senior year of college, he runs into her at the airport. She is on her way home from school; he is on his way to California to see his dad. His flight is delayed so they go into one of those terrible airport restaurants: a TGI Fridays, that type of place. They talk for about an hour—he’s getting really into cinematography; she’s pretty sure she’s going into the family business, writing. When they part, it is with promises that they’ll keep in touch, but they don’t

When she gets home, Naomi tells her dad that she ran into James Larkin of all people.

“How’s he doing?” Grant asks.

She considers the question. Even though she has had quite a few boyfriends since James, she still worries about him. How do you stop worrying about someone you used to love? “He seemed all right,” she says.

A couple of months later, Naomi Googles him and ends up on his Tumblr. Yeah, James is totally on Tumblr, but not on Facebook or Twitter or Instagram or Pinterest. He’s got reasons he doesn’t like all those other social networks, and who knows how long he’ll even stay on Tumblr, right? James’s Tumblr involves screen captures of movie kisses. He’s still romantic, she thinks.

2, 3, 4/85

Anonymous asked:

who is the girl on the cover of elsewhere?

I answered:

1/84

image

I suppose you are talking about the British paperback version, which has a blond girl wrapped in a blue towel, on a beach. I don’t know who she is except to say that the photo came from a stock photo house, like Getty. I know this photo has been used on other books, too. I think she represents Liz, but you probably know that already. 

I imagine this girl was a child model. She’s probably a grown-up now. Maybe she’s in college or even older. Maybe she doesn’t model anymore. Maybe modeling was her mom’s idea to begin with and maybe she only did it to make her mother happy. Maybe she was cold that day. Maybe she wouldn’t like being on a book where the girl dies, but that’s the life of a model: You end up where you end up. Maybe, since the photo is from behind, when she sees the book in stores, she doesn’t even know that it’s her. 

At this moment, there sit 84 questions in my tumblr askbox. For the next month, I’m going to try to answer them.  

theparisreview:

It seems to me everything would depend on the stranger.
And the facts of departure:
is it she or I who is sailing away alone;
or is each of us seeing someone off;
or—best of all—are we leaving together?
If the latter, we’ll have the entire voyage—
preferably five days or more—
to enjoy a full-blown affair and then part.
If not, then a half hour in a hastily booked
room overlooking the harbor
will present its own delights,
infinitely sweetened by the pressures of time.
As for the lines employed to effect
the seduction (I am purposely clinical),
no matter if she and I will be together
a week or an hour,
I would try, summoning all my wit,
not to make reference to ships
(especially the kind that pass in the night)
or to insinuate marine metaphors of any sort.
But urgency might overrule novelty,
forcing me to resort to something like:
“In your eyes I see the glittering port
that is my (your) (their) destination—
let us travel there without a ship.”
And if I find I am losing her with that one,
there is always the tried-and-true to fall back on,
good, not just for embarkations,
but any occasion:
“How fortunate we are to have
so little time for words …”

Nicholas Christopher, “Lines to Seduce a Stranger An Hour Before the Ship Sails”
Art Credit Linda Kim.

continued ruminations on the phenomenology of the stuffed animal sandwich
1) What does it mean that a toy for a dog is depicted as a sandwich? I risk tautology: the toy isn’t edible.
2) Why does sandwich have a face? Can sandwich eat self? If not self, what does sandwich eat?
3) Does stuffed animal sandwich exist for dog owner’s amusement? (consider this in terms of master/slave paradigm; I think, perhaps, of Foucault’s writings on the subject) Is dog secretly humiliated by being made to carry around sandwich? (I suspect not, but I promise you he would hate you if he knew.)
4) Does sandwich seem depressed? (am I depressed?) His eyebrows are a comical expression of worry, the way Woody Allen is depicted in caricatures.  His eyes seem manic, almost drug-addled. We see the insanity of a Cookie Monster, not the stability of an Oscar. 
5) Are the individual layers of the sandwich (the fake lettuce, tomatoes) part of the sandwich? Or do they have autonomy? Do we consider a sandwich as “whole” or are we really discussing the crisis of the bread with the smile? By not grappling with the layers, have I failed to consider the true complexity of the situation?
6) If you are represented in form as “sandwich” but your destiny is to never be eaten, does this result in an existential crisis? (cf. Derrida.) And to return to those Cookie Monster eyes—does his expression come from a hunger that can never be fulfilled?
7) Who’s ready for lunch?
Zoom Info

continued ruminations on the phenomenology of the stuffed animal sandwich

1) What does it mean that a toy for a dog is depicted as a sandwich? I risk tautology: the toy isn’t edible.

2) Why does sandwich have a face? Can sandwich eat self? If not self, what does sandwich eat?

3) Does stuffed animal sandwich exist for dog owner’s amusement? (consider this in terms of master/slave paradigm; I think, perhaps, of Foucault’s writings on the subject) Is dog secretly humiliated by being made to carry around sandwich? (I suspect not, but I promise you he would hate you if he knew.)

4) Does sandwich seem depressed? (am I depressed?) His eyebrows are a comical expression of worry, the way Woody Allen is depicted in caricatures. His eyes seem manic, almost drug-addled. We see the insanity of a Cookie Monster, not the stability of an Oscar.

5) Are the individual layers of the sandwich (the fake lettuce, tomatoes) part of the sandwich? Or do they have autonomy? Do we consider a sandwich as “whole” or are we really discussing the crisis of the bread with the smile? By not grappling with the layers, have I failed to consider the true complexity of the situation?

6) If you are represented in form as “sandwich” but your destiny is to never be eaten, does this result in an existential crisis? (cf. Derrida.) And to return to those Cookie Monster eyes—does his expression come from a hunger that can never be fulfilled?

7) Who’s ready for lunch?

poem for the heroine of a young adult novel

A girl in a town

—no one gets her—

meets a boy in a town

who does.

Throw in another boy

—triangle—

or someone

not quite human,

and she thinks

the world might end.

 

You want to tell her:

despite a few close calls,

the world hasn’t ended yet.

And someday you will 

leave this town,

read Anaïs Nin,

cut your hair.

In five years, perhaps less,

you won’t remember

any of this, I swear.

—Gabrielle Zevin

answers to your questions about book the third

Updated: 5/11/2013

At some point I’ll write a longer post about the title change and what it means. 

Things to know:

1) there are two funerals. 

2) and at least an equal number of weddings.

3) the story takes place in new york, japan, and two other significant locations that haven’t been visited before. 

4) you might be angry at Anya and at me when you read the book. The book is very different from the books that preceded it. 

5) I hope you’ll leave the story asking the following questions: what does it mean to be a feminist? is Anya Balanchine a feminist? how do her childhood and her environment influence the choices she makes as an adult? why do you think she makes the choices she makes? is Anya Balanchine a good person?  (We can discuss these issues somewhere, and I promise to tell you what I think if you want to know.)

6) But I am getting ahead of myself.

7) The book comes out in September October. The title is In the Days of Death and Chocolate In the Age of Love and Chocolate,and observant readers will note that this title completes the sentence begun by the previous two book titles.

Ye Olde Gentleperson’s Guide to Writing Online Reviews

To remain a Gentleperson and an Online Book Reviewer is a challenge indeed.

1) Every Gentleperson knows that it is considered bad form to review a book before such time as she has finished reading it. The status update can be the enemy of noble reviewing. Proceed carefully, Gentle Reviewer. Sit with a book a few days before you attempt to proffer an opinion. 

2) A Gentleperson does not refer to an author by first name alone. Last name, or first and last name. It can be a dicey matter to add a Ms., Mrs., or Miss in front of a female writer’s name. Unless the gentleperson has met the writer personally, you cannot know how the writer chooses to refer to herself.

3) If a Gentleperson dislikes a book, it is considered bad manners to refer to everyone who likes said book as “tasteless” or “stupid.”

4) It is worth considering the author’s intent, but you must acknowledge that this is unknowable to you.

5) Someday, Gentle Reviewer, you will encounter a book you don’t like! I feel for you. It should be acknowledged that this is a difficult situation, and you must proceed delicately. Remember when you are reviewing the very bad book that a team of people loved the book and thought it was a good book. The author’s intention was not to write a bad book. 

6) Do not fall in love with the wit of your dislike, the clever spectacle of your hate.

7) Remember you cannot prove “good” or “bad.” You might discuss how a book made you feel. You might discuss literary technique (or lack of it.)  

8) A Gentleperson is always trying to improve his craft. Read professional reviews and collections of literary criticism. Read broadly in the field where you review but also fields beyond that. A Gentleperson reviewer must have a sense of greater context and where a given work exists in the spectrum of other works. 

9) Gentleperson, read deeply, not just quickly. You are not in a contest to read the most books in a year. (Unless you are — in this case, please don’t review books online and best of luck with your contest.)

10) Gentleperson, remember that the author did not likely have a say in a) the jacket, b) the copy and c) much of anything except the words on the pages. Unless you have something really remarkable to say about the matter, resist reviewing the jacket or the copy or the blurbs. Focus on the text.  

11) A healthy skepticism of other people’s opinions is useful. Know what YOU think. Historically, the crowd is mistaken all the time.

12) Authors make choices. You may not always agree with them. This does not make the author a “bad writer.” Like and even love are not synonymous with skill.  

13) That you found a typo does not make a book “badly edited.” Typos happen even in the most fastidiously edited books. Move on. 

14) Remember that authors have goals besides making you like their characters or even their books. You can be improved and fortified by reading books beyond what you like.

15) An author may be delightfully charming online. His books may still be terrible or mediocre. The reverse is also true. Wonderful, beautiful books sometimes come from prickly, unpleasant people.

16) Gentleperson, if you find yourself writing a review that more or less echoes what everyone else has already said about a book, here’s a tip: there is no need for you to write aforementioned review! Provide a link; move on. 

17) One of the hallmarks of an ungentlepersonly review is poor copyediting. A judicious use of Google can spare the Gentleperson the acute embarrassment of having the author’s name and the title of the book spelled incorrectly. If at all possible, try to get the details of the book itself right, too — the character names, places, ages, etc. 

18) The internet is a gift, Gentleperson. The ability to blog is a gift. Above all, the Gentleperson’s goal should be to fill her online space with that which is beautiful, useful, constructive, clever and true. 

(friday nonsense no. 12)

largerinfinities asked:

Dear Gabrielle, I am the one who made the videos about Margarettetown and I was wondering if you had any advice on where to apply for internships and things for the summer since I am nearing the end of my college career.

I answered:

Thanks again for being a Margarettown enthusiast! Seriously… Do you recall when Margaret Towne says she is cursed? Well, the book that bears her name was a little bit cursed, too. At least the publication of it. So I  appreciate my Margarettown readers very, very, very much. Have you read Nicole Kraus’s The History of Love? That novel came out the same month as Margarettown but this is not why I mention it. In The History of Love, there is a story of a book that no one (except for maybe two people in the entire world) remembers called The History of LoveMargarettown is a bit like that for me. (You might like The History of Loveif you haven’t yet read it, by the way.)

Re: internships

I had an internship at the New York City Department of Transportation (DOT) one summer, working in their media department. We made (or at least tried to make) a video that was to teach DOT workers how to repair potholes. 

The internship was paid… It was very important to me to be paid. In retrospect, I think I was silly about that. It wasn’t like it was a ton of money anyway ($7/hour as I recall) — I might have taken a much better unpaid internship. I had turned down a perfectly good unpaid internship at the Food Network, which would have been a lot more interesting, relevant and probably fun.

I DID however learn a lot from that internship at the DOT. Mainly what I learned is that it is difficult to get anything done. Our little pothole repair video had to go through endless committees before it could be made. This process turns out to be remarkably similar to what working in film or publishing is actually like. 

In terms of where to get internships? I would encourage you to ASK EVERYONE YOU KNOW. The internship at the DOT I got through a friend. The internship at the Food Network I found about through my college’s Office of Career Services. 

My last word of advice. I know that internships are competitive. If you don’t end up getting one, a sneaky way to snag a backdoor internship is to take a job volunteering in a related field. I’m not sure what your field is, but if it were, say, writing or publishing, I might try offering up my services to Valencia 826 or Girls Write Now. 

XO,

Gabrielle

0rwellian asked:

Hey Gabrielle! I'm a huge fan of your book All These Things I've Done, and I saw that you'd be answering questions in le ask box this week, so here's three: 1) How was your college experience? 2) Favorite brand of clothing? 3) Greek tragedy or detective novel?

I answered:

Thanks very much!

Re: My College Experience — I have nothing terribly original to say about this matter, I suspect. I knew I wanted to be a writer before I went to college, but the truth is, college made me a writer. It exposed me to books beyond what I would have read on my own and ideas beyond what I would have thought on my own. I did not care for college much while I was in it, but that is because I was young and silly. 

By the way, I was fortunate to be able to attend a fancy college though what I really believe is that a great education can be procured at many places and in many ways.

Re: Favorite brand of clothing. 

I have no brand loyalty. I like what I like. I like vintage, too. That said, I am very into this season’s Valentino collection. (Sadly, I am priced out.) 

Re: Greek tragedy or detective novel?

Have I been hoping someone would ask me this my entire life?

Greek tragedy because it’s the source of all story. The detective novel is a relatively young genre. (Semi-related aside: A couple of years ago, I read all of Sherlock Holmes — it’s interesting to see the ways in which Arthur Conan Doyle is the root of ALL modern police television procedurals. There would be no Law and Order or CSI without Conan Doyle.) 

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