Sunday, May 03, 2009

Grandfather Stories – A Short Story Collection by George Polley

On the publisher's website, the blurb for this short story collection reads as follows:
This is a delightful collection of short stories told by a fictional grandfather about his adventures in Japan with young wolves, his adventures with a big neighborhood raven that he calls "Sir Raven," and a deer that he and his brother Yojiro saves from certain death.

At a glance, this collection of fictional stories reminds one of Aesop’s Fables: each story has some moral lessons imparted to the reader, involves a member of the animal kingdom and is written in language that is simple and, yet, engaging. For instance, in Grandfather and the Wolves, the author writes:

As he sat along the sidelines watching their fame, he thought to himself how much of a person’s experiences depend on how his perceptions influence the way he responds to situations. It was one of the most valuable lessons he had learned in his long life.

The author was born and brought up in the United States of America. In 2008, he re-located to Sapporo, Japan so that his wife, ‘could fulfil her dream of returning to the land of her birth.’ He has his own website: http://www.geogepolleyauthor.com/.

There are three sets of stories in this collection – Grandfather and the Wolves, Grandfather and the Raven: A story cycle and Grandfather and the Deer. Each set is a whole story on its own with its own chapters. Still, Grandfather, being the main character, is the strand that runs through all the entire collection.

In Grandfather and the Raven, the elements of characterisation and dialogue are what intrigue most of all. The raven is given a voice and usually says nothing more than, “Kaaa.” However, the reader is taught to interpret what these mean from the thoughts and ideas Grandfather gives to each ‘Kaaa.’ An example is as follows:
“Kaaaa,” said the raven from very close by. “Kaaaaa.”
“Are you agreeing, or disagreeing?” grandfather asked, forgetting all about his wife’s caution about ravens in general, and this one in particular. Since the raven said nothing, grandfather decided that the raven agreed, and didn’t need to say more.

As the story progresses, a discerning reader might find himself understanding what Sir Raven (the name given to this bird) without the need for Grandfather’s explanations.

The following, from Grandfather and Midori, is a further example of how the author created a language for Sir Raven.
“Nevermore,” said the raven.
Grandfather gave his friend a surprised look. “Where did you learn that?” he asked.
“It’s an old raven saying,” Sir Raven replied, lifting himself into the air. “I will go and see what that dog is doing ...”

Sir Raven proves to be an able guard to protect Grandfather from a vicious dog, a very good coach and motivator for a boy who wants to run like Michael Johnson and, a very polite and cultured dinner guest.

Perhaps, a criticism which can be levelled at Grandfather and the Raven arises from the fact that certain phrases are repeated. For instance, the following phrase from Chapter One is repeated in Chapter Two: … the raven replied, sounding very much like a rusty door hinge. This can easily be rectified should a newer edition of these stories be published.

Grandfather and the Deer is a lovely story of how a dog, a giant white Pyrenean Mountain Dog called Petunia, takes an injured deer under her wing and watches over the deer as she recovers from its injury. The other dogs in the care of Grandfather, Ichi, Ni and San – three Irish wolfhounds – provide the elements of humour and adventure in this story. While Petunia plays nurse-maid to the deer, Ichi, Ni and San are the guards who see to it the deer is not attacked by wolves during her four months of recuperation.

In all three stories, the author’s attention to little details like, ‘… one warm summer afternoon as they worked together in their daikon field…’ and ‘And the mochi Sir Raven had brought?’ all add colour to these tales and make you feel closer than ever to Japan.

When you finish reading these tales, you will, without any effort on your part, begin to have more of an affinity with the animals around you. You might even find yourself putting words into each bark of your pet dog or the chirping of birds as the day comes to a close. This charm is the lasting impression this book has on a reader.

If it had been the intention of George Polley to illustrate the beauty of nature with the use of his words and lessons we can learn from the animal kingdom about how to live in harmony, he has certainly achieved it with this short story collection. I look forward to reading more of these stories and hope that, someday, I will be able to buy hard copies to give as worthy gifts to friends.


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Click here to read this review on the website.

The Old Man and the Monkey by George Polley

This work of fiction opens with this paragraph: In a small park near one of the rivers in Asahikawa, Hokkaido, there is a bronze statue of an old man and a monkey seated side by side on a broad flat stone looking out over the river and the mountains. The monkey is bigger than ordinary snow monkeys; the top of his head reaches to the old man's shoulder. Looking at the bags under his eyes, one can see that the monkey, like the man, is elderly. Affixed to the base of the statue is a bronze plaque that reads: 'Genjiro and Yukitaro'. These two old friends sit and warm themselves in silence as the years and seasons pass.

The last sentence on the first page of the ebook gives a succinct introduction to the plot: Now is the time for me to tell their story and reveal for the first time how an improbable friendship like that between a man and a monkey happened, how it was good, and how it ended. This is a gentle start to a story that is both poignant and sweet. There are twists along the way and it is, therefore, a grave error to assume that the whole story has already been given away with that one sentence.

The sequence of events, from the very beginning, is so well-crafted that that ‘dream-like’ state of a story is sustained throughout. The economy of words used gives just enough information to make you understand and feel you’re with Yukitaro and Genjiro and, at the same time, leaves you wanting to know more.

If you were to wonder why George Polley is fond of the use of the terms ‘Old Man’ and ‘Old Woman’, he explains that, ‘[i]n Japanese folk tales, the Old Man, and Old Woman, are seen as symbolic of Wisdom. They often give wise advice and are revered for their wisdom. Monkeys are seen as mischievous and playful, and can be either evil and cunning or good and messengers of deities and the Buddha. …’

Here are samples of George Polley’s evocative use of language:

One by one, led by Yukitaro, the monkeys gathered around the villagers. Yukitaro went up to Harue’s tombstone and laid a flower in front of it, then turned and looked up into his old friend’s eyes with an expression of such sorrow and compassion that it brought tears to the eyes of everyone there.

That winter passed uneventfully, passing smoothly into spring, bringing with it a sprinkling of new babies and the promise of a good growing season.


The most notable example of humour takes place when the agitated mechanic, Tsuguo, mistakes Yukitaro’s generosity, in carrying a large mountain potato on his back, for a planned attack using a club on Genjiro and his wife.

The tale does not end with the death of the main characters. Indeed, there is a sense of ‘coming home’ when Junichiro (Genjiro’s grandson) finds what appears to be the remains of the monkey and informs his father. It is a hard-hearted man who is not touched when he reads, ‘… Junichiro and his father placed a small black headstone next to their headstone with this simple inscription: YUKITARO A friend’

What would have made this ebook perfect, however, would have been another round of proof-reading. A sentence in the last paragraph reads as follows: … It has taught me much about the possibilities of friendship and kindness and the bonds that exist between man and man and man and animal … [sic.]. That this sentence appears towards the end spoils the entire experience, somewhat. Still, this is not a major criticism for it is does not detract from the overall beauty of the story and can easily be rectified when the next edition is published.

The Old Man and the Monkey by George Polley is a lovely ebook and I look forward to the day when it will be published traditionally into book-form.

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To read this review on the website, click here.

Saturday, April 04, 2009

The Place of Compassion in Writing by George Polley

Why compassion? It boils down to this: Without compassion writing, like all human communication, devolves into dismissiveness, attack and put-down, all of which are disconnecting, and ultimately dehumanizing. I do not like writing that treats human beings and the world they live in, as things to be manipulated, played with and destroyed. Psychologically speaking, a person who does that is called a sociopath, a psychopathic personality, whose behavior is antisocial and who lacks a sense of moral responsibility or social conscience. I've worked for a few of them, and during my career as a mental health professional, I've treated a few of them, and I do not like them. So in my writing, I aim for a compassionate treatment of all of my characters, even the sociopaths.

The word compassion has two basic definitions: (1) A deep awareness of and sympathy for another's suffering; and (2) the humane quality of understanding the suffering of others and wanting to do something about it (WordWeb thesaurus and dictionary).

As a writer I think compassion, like humility, is vital to all good writing. And I don't mean brushing aside all of a person's negative traits. Some people are like the psychopathic doctor in Erik Larson's book The Devil in the White City. In what is the best description of a psychopath I have ever read, this is how Larson describes him: “Events and people captured his attention the way moving objects caught the notice of an amphibian: first a machinelike registration of proximity, next a calculation of worth, and last a decision to act or remain motionless.” If you're wondering how in blazes anyone could have compassion for someone like that, I hear you. Sometimes all I want to say is “I detest the miserable little shit!” and be done with it. Doctor Holmes in Erik Larson's popular history of Chicago during the 1890s is a good candidate to lob gobs of the stuff at. The thing is, he wouldn't have reacted at all except to look at you with those deadly lizard eyes and wait for the chance to kill, much like Pedro Gomez, the murderous Mexico City cop in my story “The Disappearance of Pedro Gomez”, which is also a chapter in my novel about Mexico City.

Though compassion does not come easily, it is important because it allows me to understand a person and what made that person the way he or she is. Compassion is neither wishy-washy nor sentimental, and it doesn't whitewash people; what it does is enable me to see the person, however horrific and dangerous he or she may be, as a human being who, through accident, experience or biological disorder, changed from an innocent newborn into a monster. Without compassion, it is all too easy for me to dismiss a person and to treat him as badly as he or she treats others. And this I refuse to do. So compassion is a vital element in my writing.

Years ago I read a book about Manuel, a young murderer in Santiago, Chile. He grew up in a poverty-stricken neighborhood, lived on the streets, and became a male prostitute because it provided him with income. He was in prison for murdering a prominent Santiago attorney, who was his lover. He was disconnected from people and viewed them as things to be used to get what and where he wanted. When the interviewer, a British journalist, met him, he was cold, distant, had the flat eyes of a reptile, and expressed no interest in the interview or the interviewer, but did approve the interviewer coming back if he wanted to. His main interest was in talking about himself. By the end of the book, I saw Manuel as a human being with a life, experiences and feelings that I could relate to. Did that make him into someone the interviewer or anyone else could trust? Absolutely not! Would that ever be possible? Probably not, and at best, a very long shot. A likable person? Not at all. But through the interviewer's eyes of compassion, I saw Manuel as another human being, albeit a dangerous one.

That is why compassion is, for me as a person, a writer and a reader, both needed and necessary.

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To read this article on the website, please click here.

Wednesday, April 01, 2009

Useful Advice for Storytellers

I read the following on Sharon Bakar's blog. She got the information for Leon's blog and he got it from someone else. Sharon applied it to creative writing. I'd like to apply it to storytelling.

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1) Write everyday. It's easier than it sounds. Make time everyday to write SOMETHING. Even if it's one line scribbled into a napkin on the subway or the bus, or a whole precious early hour in the morning. This practice lets the mind know that everyday we must be observant, that we are paying attention, always.

2) Learn poems you love. Read whatever poems you can get your hands on. Not just the classics, but those poets who are writing today. Pick up journals, magazines, and anthologies; search for the poems that break you open. Read those poems over and over again until you have them memorized in your mouth. Don't worry about mimicking them, just accept them as your teachers and hold them close. Become an expert on the poems you adore.

3) Cultivate silence. Silence is essential in order to hear your own voice. Especially nowadays when we often have the television on, the radio on, or music playing all day long, it is essential to find some silence to listen to your own voice. Your own voice is the only thing your poetry needs.

4) Embrace revision. Revision might be the hardest thing that writers have to do, aside from battling our own internal demons, because it means admitting that we are wrong. Sometimes we are so wrong that we need to start all over again, and it's embarrassing. Sometimes we only need to change a comma, but listen, every poem needs revision and every poet needs to learn humility.

5) Practice gratitude. Cherish those friends and colleagues who care enough to read and comment on your work. If you truly pursue writing, you will come to realize how enormously important these people are to your writing life and therefore to your making of a "real" life. Make sure you read their work with the same care and closeness they offer you. And buy them coffee and cakes when they return a manuscript with pencil marks on every page. It is a true act of kindness that should be greeted with great gratitude. And be thankful that you want to write at all, what a powerful art to devote a life to, how lucky we are to love such a wild untamable thing.

Tuesday, March 31, 2009

3 useful ebooks

Recently, I found three very useful ebooks. Two of them are by storytellers I've interviewed for the website. Click on the titles of the books to view them. Here they are:

1. 'Love Letters' - Click here if you're looking for:

  • The perfect words to congratulate your partner on an achievement they've had (Share with them exactly how proud you are of them with this beautiful love letter template)
    What to say when you want to express just how much you miss your partner when you're apart (Chances are their heart is aching for a love letter almost as much as their heart aches to be back in your arms).
  • How you can declare your true love on paper. This letter is a must if you believe that your partner is the love of your life. Now you can make sure they know it with these beautiful words.
  • Special Anniversary love letters that you can give for each of the first ten years you're together. These wonderful letters also give reference to the traditional meaning of each of the first ten anniversaries. There's even a 20th, 30th and 40th Anniversary love letter (Congratulations to you and your partner if you ever write one of these!).
  • You'll also have special love letters that you can use every day of the week (And why shouldn't you celebrate every day if you have found that special love that so many people are still searching for?).
  • How to say sorry and make sure they know that you really mean it (There is nothing worse than summoning the courage to say sorry, only to have it not rejected because it wasn't convincing).
  • The right words to convey how you feel at special holiday times (there are letters for Christmas, Easter, Thanksgiving, Valentine's Day, Memorial Day, and many more) and make the occasion even more memorable.
  • A way to tell them what you'd like to do to them without blushing (with these sexy letters you can finally tell your loved one what really turns you on!)
  • You'll get love letters that let you show your gratitude (at last, you can make them understand how grateful you are to have them in your life).
  • Do you have a book inside you that you've always wanted to write?
  • Are there events in your life you've always had a desire to write about?
  • Do you then tell yourself (wrongly!) that you don't have the time, the talent or the energy to write a whole book?

Because with step by step, no nonsense tips, techniques and simple strategies, this system will enable you to turn your most treasured dreams into reality.

  • You'll be able to turn on the tap to instant creativity.
  • You will gain the all important Author's Mindset!
  • You'll learn how to banish self doubt and lack of confidence.
  • You'll have access to all the tricks and skills of professional writers.
  • Best of all, whilst writing for no more than an hour or two a day, you'll be able to finish an entire novel - easily - in less than a month. Guaranteed!

3. How To Write A Great Children's Book
This comprehensive book will show you:

  • What you need to consider before you start writing your book.
  • The different types of children's books.
  • Why children's fiction is different from other fiction.
  • What is important in children's fiction.
  • How to create believable characters.
  • How to write realistic dialogue.
  • How to make sure your reader is 'hooked' after the first two pages.
  • How to show your reader instead of telling them.
  • Plotting and creating your book.
  • Editing and polishing your work to a professional standard.
  • The most common problems novice writers face.

Tuesday, March 17, 2009

The Support Group Groupie by Dr. Neill Neill

I wrote to Neill and asked him if he would allow me to reprint this piece. He agreed. I found it very interesting. The original piece can be viewed here:
http://alcoholism.neillneill.com/52/support-group-groupie/

***

Mutual support can be a double-edged sword. Joining a support group can lead to renewal, likening it to pressing the REFRESH button on life. However, a support group can also keep you stuck pressing the REPLAY button and hearing the same thing over and over. The picture of your life can get out of focus.

Human beings are social creatures. We need to support one another and we need support. Barak Obama is right when he says we need to work together. Businesses are failing. People are losing jobs and even homes. There is a lot of pain out there; and wherever there is pain, you will find support groups…

Bob and Jim both lost their jobs in the forestry sector. A government agency had organized a series of information meetings for unemployed workers. When Bob and Jim started going, they met other unemployed workers who had been attending for a while.

It was not long before both had picked up some good ideas for getting back to work. And by being with other recently laid-off workers, both had shed some of their feelings of failure. Besides being practical, the meetings provided needed emotional support.

After a couple of meetings, Bob stopped going and put his energy into trying some of the back-to-work ideas he had gained. He felt relieved, because the majority of the ex-workers were pessimistic about finding work and the negativity was getting him down.

Jim, on the other hand loved the get-togethers. He reveled in the mutual support because they all had the same wound: being unemployed. He did not look for other work, because, after all, "There are no jobs."

Six months later, Bob was working in a different field and Jim was still going to his "support group." Bob had pressed the REFRESH button and Jim was still pressing REPLAY. Jim had become a support group groupie. This is an example of the same support group serving both the REFRESH and the REPLAY functions.

In any community, there are ongoing groups with a variety of themes. Some are positive and renewing of spirit. A dance class, a choir, a woodworking group, a book club, a motorcycling club and a gardening club are good examples. Others may be positive in the short term, but in the long term can serve to keep you stuck and powerless, as did Jim’s unemployed forestry workers group.

Go to a grief group if you have suffered a loss, but keep asking yourself the question, "Is this speeding up my healing and recovery so I can move on?" Go to an AlAnon group or an AA group if it helps, but keep asking the same question you would of a grief group.

If you find yourself not moving on, press the REFRESH button by trying something else, like volunteering at the SPCA, joining a hiking group or seeing a therapist.

How do you tell if a group is likely to be of the REFRESH variety or the REPLAY variety? First, notice whether the group is organized around an activity. If it is, and the activity is something you would like to try, go for it. Learning and trying new things is renewing and adds meaning to life.

On the other hand, if the group theme is a wound rather than an activity, be cautious. You may gain excellent information by joining a support group that dwells on what’s wrong, but it can become a trap after you get the initial knowledge. Some groups will even resort to using guilt and shame to hold you there.

If you attend a couple of meetings and discover that they not only dwell on the wound, but also hold the wound to be progressive and incurable, how could that possibly help you to live a fulfilling life in spite of your condition? Do not press REPLAY. Run; don’t walk.

If you were looking for a good therapist because you had lost your job, were drinking too much or were feeling powerless, you would look for one who could help you in as few sessions as possible to get to a place where you did not need him anymore. I encourage you to do the same thing in seeking a support group. Find one that will help you to not need it anymore. Then press REFRESH and move on to activity-based support.

Join the resistance and refuse to ever become a support group groupie.

Psychologist Dr. Neill Neill maintains an active psychology and life-coaching practice on Vancouver Island, BC, Canada. He focuses on self growth, healthy relationships and life enhancement after addictions. He is the author of Living with a Functioning Alcoholic - A Woman’s Survival Guide. Get on his list for notification that he has posted a new article and receive his free report, "Addiction and Codependency Simplified."

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To read this piece on the website, please click here.

Monday, March 16, 2009

Removing Negative Thoughts Through Yoga

Following yesterday's entry, I went in search of more on inculcating postive thoughts and words. I found a very useful article and here's the link:
http://www.yogawiz.com/blog/yoga-benefits/negative-thinking-and-yoga.html

This is what the article says:

Negative thinking can be purged through various ways. This can be done by encouraging positive thoughts, and practicing yoga. Yoga has several positive benefits. Let’s understand the five principles of yoga and how it can help you get into a positive frame of mind.

Relaxation: Yoga is about correct relaxation of the body and the mind. A relaxed body will be rejuvenated and fresh, and this in itself helps to dispel those dark, gloomy thoughts. Relaxation eases the tension in muscles, and drains out negative thoughts. If you are relaxed, you are less likely to get agitated and will be more energized. A higher level of positive energy can combat negative thoughts.

Breathing: Yoga is about precision and correct breathing methods. Deep, rhythmic breathing will draw in more oxygen into the body and expel the toxic, stale air. This will boost the energy in your body, refresh your mind and calm your entire being. Enhanced concentration is another benefit of yoga breathing. All these practiced together help to dispel negative thoughts.

Exercise: Yoga is about asanas or postures that tone the body, stretch the muscles and make the entire body more flexible. Asanas are done in coordination with pranayama breath work and even meditation. After practicing for yoga for sometime in the day, you will get the complete benefits of exercise. And exercise is known to help let go of negative thoughts and make you feel fresher. Yoga exercises and pranayama, when done together, can unblock certain energy centers and can remove negative thoughts from the system. Through exercise and healthy habits that yoga is all about, you will feel rejuvenated and more positive.

Positive thinking: Meditation is a part of yoga, and this is a positive experience that helps people let go of pent up emotions, anger and negative thoughts. The more you look into yourself and spend time in a calm, quiet place, enjoying the meditation practice, the more calm and balanced you will become.

Diet: While it is not compulsory, but yoga asanas can be accompanied with a yoga diet. Yoga diet prescribes Sattvic foods that nourish the body and the mind, and promote positive thoughts. Yoga also prescribes eating habits like not over eating and eat everything in moderation. Yoga diet helps to keep the mind and body healthy, alert, fresh and the overall mental frame, happy.

You can purge all the negativity in you through yoga and other techniques, if you really want to. The key lies in trying to be truly happy!

Sunday, March 15, 2009

The Power of Positive Thoughts and Words

In today’s papers, I was very pleased and grateful to read T. Selva’s piece for his column, Sunday With Selva. The title of his piece was, Think before you speak. Here are the parts of the piece that caught my attention:

… Hundreds of words pour out of our mouths everyday as our thoughts, opinions, judgements and beliefs are freely expressed. Most of us are also unaware to the positive or negative effect of these words, which has ripple effect on ourselves and those around us. …

… When we speak unkindly of anyone we are actually creating a negative vibration within us thus harming the harmony of our body, mind and spirit and destroying our self-esteem. Negative talk never help us do anything better other than to just waste our time and energy and disturb our peace of mind.

It is common to find individuals who go on a rage mood often forgetting the happy and good times they had enjoyed or benefited with their close ones. Why this happens is because when you are not in peace with yourself, you will be governed with anger, hatred and unhappiness.

At all times, we should think and analyse before we speak because whatever unpleasant words we say about another individual it is actually a mere reflection of ourselves.

… One of the best ways to handle issues that cause dislike is to change our thoughts and by doing so, we are actually changing our life for the better.

Next we should view things with compassion because we are all not perfect and we are bound to make some mistakes at some point of time. Remember constant negative speech traps us and prevents us from finding joy, peace, love, happiness and success.
T. Selva ends his piece with a 'Guide to Positive Thoughts and Words'.
  • Avoid gossip and unhealthy talk.
  • Stay away from complaining about others.
  • Look at the good qualities and strength of others.
  • Do not allow unpleasant emotion to control you.
  • Wish others well and avoid holding grudges.
  • Choose to speak words that are uplifting so that you can boost yourself.
  • Use positive spoken and written words to envision success.
  • Successful people take control of their words rather than letting their words control them.
  • Before you speak ask yourself: Is what I am about to say going to uplift, inspire or motivate the listener?
  • The choice of words you use should be in alignment with your vision and dreams to see personal success.
***

This whole piece reminded me of a story I both heard and read about Stephen Covey. He was on the subway when a gentleman came into the train with his children. The children were running around and making a lot of noise. The father did nothing to calm his children down. After a while, Stephen Covey could not take it anymore and asked the man if he was going to control his children. The man then apologised and told him that they had just returned from the hospital; their mother just died and they probably didn’t know how to handle it.

The lesson to learn is that the perception one has of another person’s circumstance can be so far removed from the reality of what is going on in that person’s life.

For years I’ve been trying to apply the lessons from these self-help gurus and practice having only good thoughts and speak good words about everyone I've come across. Here’s a story where I succeeded: Sometime last year, Bill Keeth wrote to ask if I would review a book he’d written, Write It Self-Publish It, Sell It. Having self-published a book before, I was very keen to read this book. One of the criticisms I had of his book was that the new chapters in the book did not begin on a fresh page. When I made this criticism, I tried to apply the lessons I’d learnt about making criticism of someone else from all these self-help gurus and tried to see it from his point of view. This was what I concluded: I would hazard a guess that having to commence each chapter on a new page might have increased the total number of pages and, hence, the overall budget.

I was very pleased when Bill Keeth wrote to me, after the review was published, to say that this was exactly what happened. Our email correspondence began, in earnest, from that point on and I’m happy to say he’s now a columnist for my newsletter, thereby adding much value to it.

I’ll end this post with a quote from Michael Bernard Beckwith in Rhonda Byrne’s The Secret: Oftentimes when people begin to understand the Great Secret, they become frightened of all the negative thoughts that they have. They need to be aware that it has been scientifically proven that an affirmative thought is hundreds of times more powerful than a negative thought. That eliminates a degree of worry right there.

Thursday, March 05, 2009

Write It, Self-Publish It, Sell It by Bill Keeth


Paperback: 252 pages
Publisher: Halterburn (9 May 2008)
Language English
ISBN-10: 0955886309
ISBN-13: 978-0955886300


How time flies! As I write this review, it appears that it has been some five years now since I self-published The Banana Leaf Men. When I started that project all I knew was this – I had a manuscript, I wanted it published and I wanted the books sold. I remember agonising over what font to use, how many lines to squeeze onto one page, what the cover design of my book should be and so much more. I had to learn (very fast) what words like ‘typesetting’ meant; the accounting concept of ‘sales-on-return’ and ‘taking on consignment’ soon became the norm. When someone pointed out to me that it had not been properly formatted in that there were just too many spaces between the paragraphs in the text, I remember being completely dumbfounded. Now, had I had Write It, Self-Publish It, Sell It in my hand, I would have been able to read, on page 89, as follows:

SPACING OF TEXT FOR A NEW PARAGRAPH. A new paragraph should be indented on the next line down. That is, there should be no line space before the new paragraph begins (as you might otherwise do when writing a report, say). …

There are times I’ve listened to people stand up in public and ask questions like, “I have written something; I want someone to publish it.” When it is explained to them that they will have to go through a submission process, they say, “But no. I don’t want to have someone else have all the profits. I want to do it myself. I just need a publisher.” If you’re a person who's asking, "What's wrong with that question?" or you need to understand what words like, publisher, literary-agent, print-on-demand, editor, typesetter, printer, distributor mean, you will find this book extremely helpful.

The most important section, for me, was the information on page 69 wherein Bill Keeth provides the 25 Specifications for Self-Published Fiction. Again, I wish I had had them before. For instance, he asks, and answers, questions like: Are the pages of this book 90 gsm or better? Are the pages of this book white, or do they have a greyish/yellowish tinge? Does this book have an ISBN number? Does the book show the publisher’s imprint or the author’s? How I wish I had known all this before ...

An excerpt of the official description of this book, which appears on the Amazon.com (UK) site, provides a more comprehensive idea of what the book is about:

Write It Self-Publish It Sell It supplies the answers to all the questions you ever wanted to ask about self-publishing. Why would anybody want or need to self-publish in the first place? Is your book good enough to self-publish? Isn't self-publishing just another name for vanity publishing? Are there any famous writers who originally self-published, then went on to be commercially published? Should you self-publish with a print-on-demand company or a local printer? How much will it cost you to self-publish? How many copies of your book should you order for a first print run? How do you go about placing your book with bookshops great and small? Which mere handful of the hundreds of self-help manuals on sale is essential for writers of fiction? How may you sell your book title via Amazon? What is the simplest way of getting your self-published book into every public library in the UK?

Make no mistake about it, Write It Self-Publish It Sell It is an absolute must for every writer of fiction - unpublished, self-published and otherwise.
As for the necessary qualification needed to write such a book, Mr. Keeth has self-published two novels, Every Street in Manchester and Manchester Kiss. The former was shortlisted for the prestigious Portico Literary Prize and I think that says enough about his expertise in this area.

This book is no ‘boring’ manual. Instead, the style of writing is one I have not read or heard spoken in a long time. The manner in which Bill Keeth has written this book is so entertaining; the descriptions are apt, the conversations recorded made the text come alive and indeed, the humour can make you laugh out loud. At times, I was so reminded of Sir John Mortimer’s Rumpole of Bailey. Here are two of my favourite pieces from the book:
Page 20 STARK TRUTH No. 8: Having duly succeeded in fulfilling all the required submission criteria, and/or avoiding all the pitfalls listed above, there is no way you are guaranteed commercial publication unless you also have: Price Charles’ mother; or Angelina Jolie’s photogenic good looks; or Wayne Rooney’s feet or Jordan’s wobbly bits; and preferably, all six.

Page 93 A SPACE OF YOUR OWN “The will to work,” says John Braine, “builds all the seclusion one needs,” But you really should contrive to create a space of your own in which you may do your writing undisturbed – even if it’s only your garden shed, the family car parked up in some quiet spot, or your place of employ when everybody else has gone off home for the day.

For instance, I have a room, small in itself, which is invariably commandeered as an when a guest stays overnight or household items no longer enjoyed the approval or regard of She Who Holds the Casting Vote At My Present Address are temporarily side-lined en route to the charity shop or the council tip. The room contains my PC, printer, hi-fi, bookshelves, and a small filing cabinet (aka a bedside cabinet with a deep drawer). It is not a perfect location, partly for the reasons already stated; and certainly, an upstairs room would be marginally better in order to distance myself from household noises and to afford me a more expansive outside view. (From the upstairs window on a good day I can see the Pennine Way above the M62 footbridge at Windy Hill). But the room I have serves its purpose well enough, affording me shelter, privacy, reasonable quietude, and the triple benefits via an opening window of the wall beyond my PC of daylight, ventilation and an exterior vista consisting of a couple of hardy perennials, the door of an outbuilding and beech tree which, luckily for me, is a neighbour’s responsibility.
The single complaint I have about the book is the fact that new chapters do not begin on a fresh page. Still, from experience, I would hazard a guess that having to commence each chapter on a new page might have increased the total number of pages and, hence, the overall budget. Having chapters begin on a new page would have been nicer but this is just an aesthetic problem which does not in any way detract from the content.

Would I recommend this book to others? Firstly, last weekend, a subscriber to my newsletter asked me a question I’ve been asked many times since the publication of The Banana Leaf Men: how does one go about self-publishing a book? For the first time, my answer was different from the normal, “Well, I cannot explain it all to you now. Why don’t you send me an email and we’ll discuss this further?” My answer was, “I have just the book for you – Write It, Self-Publish It, Sell It!" Secondly, some time ago, a reporter asked me if I would be willing to self-publish again. My answer was a firm, “No.” However, after reading this book, I am so tempted … really tempted. Is this not enough of a recommendation to invest in this book?


***

To read this review on the website, please click here.

Sunday, February 22, 2009

The Da Vinci Code by Dan Brown



Perfect Paperback: 489 pages
Publisher: Doubleday (2004)
Language: English
ISBN-10: 0385513224
ISBN-13: 978-0385513227


No doubt, the publication of The Da Vinci Code has been great success. On the cover of this book, the blurb reads as follows:
While in Paris, Harvard symbologist Robert Langdon is awakened by a phone call in the dead of the night. The elderly curator of the Louvre has been murdered inside the museum, his body and the floor around him covered in baffling symbols. As Langdon and a gifted French cryptologist, Sophie Neveu, sort through the bizarre riddles, they are stunned to discover a trail of clues hidden in the words of Leonardo Da Vinci – clues visible for all to see and yet ingeniously disguised by the painter.
Even more startling, the late curator was involved in the Priory of Sion – an actual secret society whose members included Sir Isaac Newton, Victor Hugo, and Da Vinci, among others – and he guarded a breathtaking historical secret. Unless Langdon and Neveu can decipher the labyrinthine puzzle – while avoiding the faceless adversary who shadows their every move – the explosive, ancient truth will be lost forever.

If one is already familiar with books like Bloodline of the Holy Grail: The Hidden Lineage of Jesus Revealed, the theories explained in this book will not be anything new. Certainly, it will never be described as a ‘breathtaking historical secret’. However, what is impressive about this book and makes it stand apart from the others is the fact that these very theories are weaved into a storyline that is so readable. A perfect example of this is the conversation between Teabing and Sophie:
“At this gathering,” Teabing said, “many aspects of Christianity were debated and voted upon – the date of Easter, the role of the bishops, the administration of sacraments, and, of course, the divinity of Jesus.”
“I don’t follow. His divinity?”
“My dear,” Teabing declared, “until that moment in history, Jesus was viewed by His followers as a mortal prophet … a great and powerful man, but a man nonetheless. A mortal.”
“Right,” Teabing said. “Jesus’ establishment as ‘the Son of God’ was officially proposed and voted on by the Council of Nicaea.”
This information, that Christ was mortal and made Divine some three centuries after he died, is not something new. However, in revealing this fact through dialogue, the author has imparted this information in a very clever and appealing way.

Reflecting on the creative process involved of this book, it is clear that extensive research has been carried out. Thereafter, crafting a story that has clearly appealed to the masses is very commendable. Classified as a thriller, The Da Vinci Code is certainly a page turner. The plot is so well structured that the story flows from beginning to almost the end without a hiccup. There are many twists and turns along the way and if one is already familiar with thrillers, it will not be difficult to guess who the villain is. The manner in which the story concludes, however, makes the previously fast and furious pace of the novel come to a grinding halt, especially the part about Sophie’s real identity. Maybe, she could have remained as nothing more than a cryptologist. Still, this is fiction, and certainly, the conclusion the author chose, adds drama to the tale; but one is left wondering if another conclusion might have worked better.

Perhaps, the biggest problem with this book is that the language used is not evocative enough. For instance, the author has written, ‘Fache frowned inwardly at the delay.’ This sentence, in very simple terms, seems illogical. Is it possible to frown inwardly? Adverbs that end with the letters ‘l’ and ‘y’ – for example, ‘noticing Langdon sweating slightly’ – are used in abundance and spoils the narrative somewhat. That said, there are moments when the descriptions of characters raise the quality of language; for instance, Teabing’s bushy eyebrows arched with intrigue. Needless to say, while the narrative sometimes leans toward too much telling, it is the dialogue which helps to improve the quality of writing and the element of ‘showing’ necessary in fiction. For instance, Teabing says. “Good heavens, no! I would not wish a British chef on anyone expect the French tax collectors.” It is through this character, Teabing, that the element of humour is evident and adds that light-heartedness to a very complicated subject matter.

The lasting memory of this tale is that you will find yourself looking at all of Da Vinci’s paintings searching for the clues Dan Brown has mentioned in his book. It might even leave you wondering about what else has been hidden. Certainly, it is a book that makes you admire how clever Dan Brown is: he has taken one of the world’s worst kept secrets and has created a story that has such wide-spread appeal and entertained millions all over the world. Surely, this is something that any storyteller can aspire to achieve.

***

To read this review on the website, please click here.

Friday, February 20, 2009

The Slippery Art of Book Reviewing by Mayra Calvani and Anne K. Edwards


The Slippery Art of Book Reviewing
by Mayra Calvani and Anne K. Edwards
Perfect Paperback: 186 pages
Publisher: Twilight Times Books; 1st edition (June 15, 2008)
Language: English
ISBN-10: 1933353228
ISBN-13: 978-1933353227

Have you read a review and wondered whether it is good or bad? Have you ever wanted to venture into writing reviews but don’t know how to begin? Are you wary of writing a review and having publishers think that it might be too amateurish for them to consider publishing? Well, The Slippery Art of Book Reviewing answers these questions and so much more.

A website has been created to feature this book: http://www.slipperybookreview.wordpress.com/. On it, you can view the full synopsis for this book. The pertinent questions asked and the statements made – which are mostly dealt with in Part 1 of the book – give an idea of what this book entails. For instance, the book will teach you:
  • How to differentiate the various types of reviews.
  • How to prevent amateurish mistakes.
  • How to tell the difference between a review, a book report, and a critique
The book begins well by teaching you an important skill and that is learning to read critically. The authors say,
‘Though different reviewers work in different ways, good reviewers usually have a pencil or a highlighter in hand to take key notes or mark important lines or passages they may want to refer to later while writing the review. This is especially true in the case of long, in-depth reviews. If you don’t want to write or mark the book, then keeping a notebook for notes is a great idea. You can jot down clue words as you read along, or write down any page numbers you plant to quote from.'
It is a mistake to assume that the book targets only a person who wants to write reviews. Indeed, Part 2 highlights the fact that The Slippery Art of Book Reviewing is very useful for anyone in the publishing industry – from authors, publishers, booksellers to librarians – as ‘this book will also bring to light the importance and influence of book reviews within a wider spectrum.’

It is often said that one of the best ways to teach another person something new is to share with them exact examples of the points you’re trying to make. The authors have done this throughout the book but it is most evident in a section entitled, ‘Types of Reviews’. They have taken the trouble to write a review of a fictional book called, ‘Day of King Rex’. What makes it special is that they use this same book and, thereafter, write a terrible review. The reader, therefore, gets a clear picture of what is the difference between a good and bad review.

Following this, there are more examples of other kinds of reviews, namely:
  • The Sugar-Coated, Overly-Positive, Amateurish Review
  • The Nasty, Overly-Negative, Amateurish Review
  • Then, there are exact examples of the following kinds of reviews:
  • Long, In-Depth Review and Breakdown.
  • Article-Review and Breakdown.
  • Non-fiction Review.
  • Children’s Book Review and Breakdown.
  • The Anthology Review and Breakdown.
The thoughts, ideas and suggestions shared in this book come from two authors, Mayra Calvani and Anne Edwards, who are clearly ‘veteran’ reviewers – The Slippery Art of Book Reviewing is peppered with examples of reviews they’ve written which have been published widely. They generosity in sharing their knowledge comes through, especially in the section about teaching a person just how to start their own book review site. There is also valuable advice given which is this: ‘The bottom line is, if you want to become known as a serious reviewer, charging for reviews is a bad idea. Maybe this perception will change in the future, but this is how it is now.’ Indeed, there is a further warning given (which actually adds a sense of humour to this book): ‘Take it from Jim Cox, editor at Midwest Book Review: “Here is the secret to being financially successful as a book reviewer--marry rich.”’

No doubt, there are times you might wish to write a negative review. The authors have taken great trouble to explain how to write such reviews. They start with explaining how not to embarrass yourself.
'…When you phrase your reviews tactfully, the authors themselves can learn and profit from your negative reviews.
Avoid statements like “This is a terrible book” or “This is the worst book I’ve ever read.” This screams ‘unprofessional’ and will label you as an amateur. There are other statements you can use to convey your negative reaction to the book. For instance, the harsh phrases mentioned above can be replaced by, “This book didn’t live up to its full potential because …” or “This novel didn’t work for me for the following reasons…”'
The authors’ generosity continues in Part 3 where they give you lists of resources – from print publication to online sites and magazines – that accept reviews. Sharing this set of resources gives this book that ‘wholesome’ feel.

This is certainly a book many a reviewer would wish they had known about before writing their reviews. In all, The Slippery Art of Book Reviewing is highly recommended for a person who is not only serious about writing reviews regularly, but for anyone who has more than a passing interest in the publishing industry.

The lasting impression of The Slippery Art of Book Reviewing is that the information shared has been done so with absolute honesty. It is, therefore, seemly to end with two pertinent passages from this book.
‘... and ultimately, a reviewer’s foremost--and probably only--obligation is to readers, not to authors and publishers.’

'Thus, if a reviewer would maintain a relationship with any publisher, they must be able and willing to account for negative reviews. Otherwise, that publisher will drop them and in time, that same reviewer might find themselves with a reputation for giving unfair reviews which means online sites that accept outside reviews may not be willing to post them either. While one does not have to give good reviews just to continue reviewing, one must be fair and objective in their reviews.'
***

To read the full review on the website, please click here.

Wednesday, February 18, 2009

'Lottie's Babies' - by Dr. Christina J Johns

Here's a story that Christina shared with me when I interviewed her for the website.

Mattie Mae Hollis was a part of our family for over fifty years. During those years, Mama and Mattie Mae helped each other a great many times. I, of course, remember only the most dramatic occasions and most particularly I remember the time Pickering Head had those two dead babies at Sneadlin's funeral home.

Mattie Mae was the one who phoned mama for help that crisp Autumn day, but the help wasn't really for her this time. It was for Lottie, Mattie Mae's best friend.

Mattie Mae was phoning from Mr. George Reed's gas station about a block from Sneadlin's Funeral Home. To my consternation, mama hadn't seen fit to pass on the information that Lottie's house had burned down that past weekend, and that her twin babies were killed in the fire.

This was the kind of thing mama never told me. She always thought I had a morbid turn of mind, and I suppose she saw herself as not feeding what she and my grandmother deemed my unhealthy and definitely unladylike obsession with all things secret.

Of course, the minute I heard the words "dead" and "babies" and then "funeral home" in the same few sentences, my ears cranked around like those of a cat hearing footsteps in the leaves.

Now, there are a lot of peculiar things about this story. One of them is that Lottie's two babies were even taken to Sneadlin's Funeral Home. You see, Sneadlin's was a white funeral home, and if there was any life function in the 1950s south that was more segregated than religion, it was death.

The only thing I can figure out is that the babies had somehow wound up there because it was an accident, a fire, and somebody got put through to the wrong funeral home. But even so, it seems like somebody would have realized the mistake and phoned a black mortician. It doesn't make sense.
Mama's was never any help with this issue. She refused to talk about the incident and when I pressed her, she denied it even happened. "Lydia, this is just something you’ve made up. You were a strange child."

She always did this to me. It took me over fifty years to work out that mama, Frances Sarah Ward McPherson had a lot of secrets. She didn’t like talking about the past and whenever anything "uncomfortable" came up, her way of dealing with it was to just deny it ever happened.

But, I remember as clearly as I remember the color of the Catawba river that Lottie's two precious babies were left in the cold waxy hands of Pickering Head.

The problem Mattie Mae was phoning about on that crisp autumn day was that Pickering wouldn't let Lottie look at the bodies. I stood just inside the white swinging door to the breakfast room, my ear pressed to the crack, listened to Mama talk.

Seems, Pickering said he'd already closed the coffins; that the bodies were too badly burned and that Lottie didn't need to see them. Pickering, of course, being white, thought he knew better than Lottie what she needed. He also probably thought that once this poor black woman was told with some authority by a white man that she didn't need to see her own dead children, she would go away and let it be.

But Pickering Head didn't figure on the combination of Mama and Mattie Mae Hollis.

Lottie was broken hearted when she found out she couldn't see her babies. She walked all the way home to grieve and wait for the funeral, but Mattie Mae was at her house to hear the story.

Now, Mattie Mae Hollis didn't have much to say on a day-to-day basis, but she was about as determined, when she got her mind set about something, as anybody I've ever seen, except my mama.

Mattie Mae and Lottie walked the five miles back to Sneadlin's Funeral Home and knocked on the screen door to the side porch. They wouldn’t have even thought about knocking on the front door. Pickering Head, the director of the funeral home, opened the glass door to the porch and walked out.

"What ya'll want?" He asked as he reached the screen door.

"We wants to see the chillin.'" Mattie Mae told him.

Pickering Head opened the door with his left hand and pointed to Lottie with his right. "I already tol' Lottie, those children are beyond recognizing. Now she’s got no business bothering us and upsetting herself more than she's already upset by pawing all over them. I got better things to do."

"She their Mama." Mattie Mae said, standing firm on her two enormous flat feet.

"Now, ya'll go on away from here before I call the law." Pickering said. "I already explained it to you. Now, git."
Mattie Mae told mama later that he said "Git" like he was talking to a couple of dogs.

Mattie Mae Hollis stood on the side steps of Sneadlin’s Funeral Home, staring at Pickering Head. She did not move one inch.

"When you gon’ send the babies to the church?" She asked.

Pickering gave an exasperated sigh. "Mattie Mae, I’m gonna send the babies to the church when I get the money for doing ‘em and not before."

Pickering Head closed the screen door to the porch and when he went inside the house, he locked the glass door behind him. He left Mattie Mae and Lottie standing on the steps. Lottie was crying.

Mattie Mae put her arm around Lottie.

"You stay right here." She said. "I be back. Me and Miss Sarah Ward straighten this out." Mattie Mae strode across the street towards Reed’s gas station. "Me and Miss Sarah Ward gon’ jerk a knot in Mr. Pickering Head’s tail." She muttered to herself.

When the phone call from Mattie Mae came, I could see my mama reddening in outrage. "Why that’s ridiculous." She said. "Absolutely ridiculous. He has no choice but to let Lottie see them if she wants to."

Mama cast a worried glance in my direction, then said into he telephone. "There’s nobody here Mattie Mae, to stay with Lydia."

"I’ll go Mama." I said, perhaps a bit too eagerly under the circumstances. "I don’t mind."

She shook her head. "I don’t want you at a funeral home. I don’t even like Funeral homes and this thing might be ugly business."

My eyes widened. Ugly business was just my cup of tea at that age. "Please Mama." I begged.

"Oh alright." Mama said exasperated by my eagerness.
"I’m comin’ Mattie Mae. Ya’ll just wait right there." She put the telephone down.

"Come on Lydia, if you’re coming." She called.

I raced to find my tennis shoes and then get to the back door so Mama wouldn’t have to wait.

Mama stood there, tying a scarf around her head, looking down at me. "You are the strangest child." She said, but she was always saying that. I didn’t take it personally. I couldn’t even tell you how many times Mama or my grandmother, Dannymom, said that to me from the time I was about four to the time I left home at 19. Granddaddy Will was the only member of the family who said it with that crooked smile of his, like it was a compliment. But then, Granddaddy Will died with a bullet in his brain which calls his judgement into some question.

By the time Mama drove up to Sneadlin’s Funeral Home in our car, I was sitting forward in the seat with my face almost in the window. I was craning my neck to see what was happening.

"Lydia, sit back in the seat. You could at least try to act like a lady in public instead of a gaping monkey."

Lottie and Mattie Mae were standing on the wooden steps outside the screened porch of the enormous old house that used to belong to one of the Cobbs before it was turned into a funeral home.

"You stay in the car." My mama ordered as she got her pocketbook and gloves and started to get out.

"Mama." I whined. "Let me go with you."

Mama stopped moving. She raised her eyebrows and her eyes became big as saucers. I knew that look. It could have frozen me in hell. What it meant was stop whatever you are doing instantly. In this case, it was whining. "Stay." She said.

I knew there was no point in arguing. So, I watched Mama walk across the front lawn, her light navy blue coat trailing behind her, her beige gloves clutched in her tiny hand, to talk with Mattie Mae and poor Lottie, who was still crying.

They were obviously not paying a bit of attention to me, so I rolled down the window to see if I could hear. But, all I could hear was the exchange of women’s voices. Mama’s little frame got straighter and straighter, Mattie Mae and Lottie were gesturing with their hands and every few minutes, Lottie would cover her face with both hands and drag them down her cheeks, sobbing.

All of a sudden, Mama turned and walked up the steps to the door of the screened in porch. She rapped so hard on the door with her little fist, I could see the wood frame moving from across the street.

She waited like a little soldier ready for battle. Nothing. She rapped again. Then, I started to see what Daddy called "the Irish" rising in her. Mama was about to lose her temper.

"Pickering Head." She shouted out, right there in the front yard of Sneadlin’s Funeral Home. "You come out here. I know you’re in there. You answer the door this minute."

The glass door to the house opened and out came Pickering Head even more ashen and unctuous than usual.

"Why Miss Sarah Ward." He said, feigning surprise. "I didn’t know you were out here. You could have just come right on in the front door. It’s always open."

"The point is not where I could have come in, Pickering. The point is where they could have come in." Mama’s left arm flew out, pointing behind her at Mattie Mae and Lottie, without taking her eyes off the pitiable Pickering Head. Mattie Mae and Lottie both stood up straighter.

"And the point is that you have to let this woman see her children. And the point is that you don’t slam the door in a woman’s face and tell her to "git" like she was a dog. And the last point, Pickering, is that I’ve known you for a long time, a very long time. I knew you when you still had cotton lint in your hair and were sneaking up behind young women in the mill and pinching their fannies. You have never had and never deserved the least little bit of power or authority or respect. And so you’re just the sort of man to lord your imaginary authority over two women who you think can’t do anything to you. You are not going to call the law on these women. I am going to call the law on you if you don’t open those coffins and let Lottie see her children right this minute while I’m standing here."

All the time mama had been delivering this breath-taking soliloquy, Pickering Head had been bending and bowing and holding his hands up in front of him and putting the fingertips of both hands on his cheeks in an attempt to somehow appease mama.

Oh, Mama knew Pickering Head, but Pickering Head sure didn’t know my mamma. If he had, he would’a known that after what he had done, trying to appease mama would have been just about like trying to appease Hitler.

Pickering Head grew paler and paler as he realized he was dead meat. He moved backward and held the screened door while Mattie Mae and Lottie and then Mama filed inside. They all went into the house, and the glass door closed behind them.

I couldn’t believe all this was going on and I was sitting in the car.

I sat there trying to weigh the trouble I would be in for disobeying Mama against the chance that she would be so distracted when she came out, she wouldn’t even notice if I weren’t in the car.

Mama, Lottie and Mattie Mae stayed inside Sneadlin’s for what seemed like hours. I slumped down in the seat, keeping my eyeballs just high enough to see out the window. The sun was getting hotter and hotter, and what had been an autumn day, was fast turning into summer. I lifted my thighs off the seat, trying to keep them from sticking to the upholstery.

I knew Mama wasn’t ever going to tell me what was happening inside.

I let my hand stray over onto the door handle and then pushed it down. The sound it made seemed very loud. I wasn’t really going to get out, just open the door for some air. I scanned the front of the funeral home for activity. None. I scanned the street in front of the car and then turned around and scanned the area towards Reed’s fillin’ station. Nobody.

I twisted in the seat and pushed open the door, putting my two tennis shoed feet on the asphalt. Just getting some air. Then, I darted across the enormous lawn and into the azaleas next to the house.

The windows of the old Cobb house were that wavy, old timey glass. Fortunately for my purposes, the windows on the front porch went from floor to ceiling and the ceilings were at least 16 or 18 feet high. I jumped sideways onto the staircase and ran across the porch, flattening myself against the house. God help me if Mama came out the front door.

I peered into one of the windows, trying to do so without being seen. But, it didn’t matter. There was nobody there. Turning, I ran toward the end of the porch and jumped off again into the azaleas. It was then that I saw the back of the old Cobb house, where they had evidently built an addition. It went straight back from the old house, a long low monstrosity of a structure built with cinder blocks and aluminum windows.

I could hear voices now, women’s voices, my mother’s voice. And I could hear crying, wailing like I’d never heard before, even at a funeral. I turned and headed for the car as fast as my crooked polio legs would carry me. I almost dove into the window of the car I was so afraid, but was able to jerk it open and sit down when I suddenly heard the front door of Sneadlin’s slam with a force that might well have shattered all the panes.

I sat up straight to see mama storming down the stairs and across the lawn. I had never seen her look quite so furious. Mattie Mae and Lottie were trailing behind her, looking very much like they had seen a ghost. Lottie was wailing as she walked and Mattie Mae was staring straight in front of her with an expression that to this day I would not even try to describe.

Then, I saw the front door of the house open and an ashen Pickering Head emerge cautiously onto the porch. He held his arms out with his palms open and shrugged his shoulders. "Miss Sarah Ward," he called. "I’m sure we can work this out. It’s just a mistake. Somebody in the back just made a little mistake."

Mama stopped dead in her tracks. Her hand was holding her gloves so tightly I could see her knuckles whiten. She stood there for a minute and then she turned around. She marched back up the walk way, circling around Mattie Mae and Lottie. She climbed up the stairs and Pickering Head walked toward her in relief. When she reached him, though, the hand with the gloves in it reared back and she slapped Pickering Head. My Mama, slapped Pickering Head’s pasty face for him right out in public, on the street, in front of Snedlin’s Funeral Home. I couldn’t have been more shocked if she had taken all her clothes off and set her hair on fire.

While Pickering Head stood there with his hand on his cheed, Mama bent down and delicately picked up her beige gloves. Finished, she turned and descended the steps.

When Mama and Mattie Mae and Lottie and I got to our house, I was banished (under protest) to the yard while telephone calls were made and voices were raised and Lottie wailed. Finally, I was allowed to ride along while mama took everybody home. Nobody said a word and I knew that my continued existence on the earth depended on my keeping my own mouth shut.

Mama took Lottie home first and then Mattie Mae. When Mattie Mae got out of the car, mama held up her hand before I could even open my mouth.

"Not one question Lydia, not one. I know you don’t believe this, but there are some things you don’t need to know about."

I didn’t believe it and I sunk back into the seat in frustration and disappointment. What on earth could there be that you didn’t need to know about. Weren’t she and Daddy always telling me to learn. "Look it up in the dictionary, go look in the encyclopedia." Wasn’t that the constant refrain of our house. Now, there were things I didn’t need to know about.

Of course, to be fair, my mother knew if she told me, I’d tell everybody else in the known universe that would listen and in a small town like Wilkes’ Ferry, even if people commit murder, you still had to live with them and get along. In a town like Wilkes Ferry, you couldn’t afford to have too many enemies and Mama had just slapped a grown man in the street.

When I couldn’t find something out any other way, there was always spying, and the best time to spy was at night, after everybody else had gone to bed, everybody except me. I would wait, pretending I was asleep, until all the lights were out and Daddy went around locking the doors. Then there was a time when Mama and Daddy talked to each other. That was the time I waited for, the time I had to stay awake for if I wanted to learn anything important.
What I heard was that when Mama and Mattie Mae and Lottie had gone into the funeral home, Pickering Head had tried his best to talk them out of having him open the coffins, but Mama and Mattie Mae had insisted. Mama even had to threaten to phone the sheriff.

Faced with three determined women and the threat of the sheriff, Pickering relented. When he took them to the back, though, he didn’t have to open two coffins, only one. Both babies were together in the first little white coffin, laying on top of each other, like they’d been thrown in by a garbage collector.

The real kicker, though, was that they hadn’t even been embalmed. Pickering Head (even though he denied it) was going to charge Lottie, Lottie, a fortune on time for the burial of two embalmed babies in two coffins, when in fact, he had done nothing to the bodies except throw them in together.

‘I’ve never seen anything quite so heartbreaking in my whole life as those two babies all crumpled in together in each other’s arms." Mama said to Daddy, in their bedroom while I leaned with my back up against their bedroom door. Mama was crying, something she never, ever did.

"And Lee, I’ll never forget that smell if I live to be 100. Poor Lottie, poor, poor Lottie."

I stayed up a long time that night, imagining the two babies together in that coffin, playing back in my mind the scene when Mama slapped Pickering Head. Wondering what on earth Lottie must be feeling, and knowing in my heart of hearts that nothing, absolutely nothing would happen to Pickering Head or Sneadlin’s Funeral Home. Pickering Head was probably asleep.

I wondered, for the first time in my life if it had bothered Mattie Mae to have to phone Mama to get Pickering Head’s face slapped. She did things for Mama all the time, favors. They were friends, but somehow this was different. Mattie Mae was a big woman. He had hands that could wrench a chicken’s head off without hardly noticing it. I watched her do it one time. She could have probably pinched Pickering’s head off. Mama could scare the living hell out of me and even Daddy, but she wasn’t even five feet tall with her heels on.

I knew Mama wasn’t going to talk about it, and I knew what Daddy would say if I asked him: "That’s just the way things are Liddy." Grandaddy Will would have explained it to me, but I would have to had find him and sit him down for long enough when he wasn’t drunk. Not an easy task.
I sat and stared out my bedroom window. Everybody in Wilkes Ferry, Georgia, all 500 souls, seemed to be peacefully asleep. Everybody except me and Lottie. Poor Lottie.

Tuesday, February 10, 2009

Fundraising Storyteller - interview with Yvonne Foong

I have a new interview posted on the website. It's Yvonne Foong and here are some excerpts from it:

***

Yvonne: I was diagnosed with Neurofibromatosis Type 2 at 16. But the very first symptoms became apparent when I lost hearing in the right year at 13. Gradually, I lost the use of both my legs, kept falling down for no reason, until my parents had to place me on a wheelchair three years later to see the doctor. Until then, nobody could guess why my bodily functions kept failing. An MRI revealed many tumours in my brain and along the spinal cord. I've since undergone one spine and four brain surgeries. The first two surgeries were performed at KL's General Hospital, and the next three at LA's House Clinic. Thankfully, I've regained the use of my legs, but became deaf in both ears from tumour growths. I'm now hearing with the Auditory Brainstem Implant - something like the Cochlear Implant, but modified for NF patients.

My most recent surgery in November 2008 involved a tumour affecting an optic nerve. I was born with an under-developed left eye, so doctors wanted to preserve my only vision left by removing the tumour surgically. But during surgery, they found the tumour attached to my optic nerve. Removing it this way would mean we need to sacrifice the nerve. Doing so would make me blind. I can't go blind, since I'm already deaf. I can hear with the ABI, but it will take a lifetime to train for speech discrimination. So doctors left the tumour intact, but removed surrounding bones to reduce pressure to the nerve and buy us some time.

Meanwhile, I have to raise enough funds for radiosurgery by March 2009. This is the second part of the treatment. It works to kill the tumour, preserve eyesight, and possibly improving it. The amount needed is RM94,000.00.

***

To read the full interview and to find out how you can help Yvonne, please click here.

Storyteller of the Skies - interview with Elmo Jayawardena

I have a new interview posted on the website. It's with Elmo Jayawaredena. Here's an excerpt from the interview:

***

Elmo: I was born in Sri Lanka, a small town called Moratuwa. That is where I grew up and that is where my permanent home is. I have been an aviator all my adult life, flew big jets for SIA and retired in 2007 and now I train pilots for Sri Lankan Airlines. My main occupation in life is working with the poor through a humanitarian organisation I founded AFLAC International http://www.aflacinetrnational.com/ - that would say it all.

.... I wrote a lot to the news papers from my young days. I never spoke a word of English till I was 17. Of course we studied English. Then I thought I will write a book. To write a book you need thoughts and an acceptable way to express them. I am a self taught writer and very proud of it for what comes out from me is pure me.

... Sam Story was a story I did not have to create. Sam worked for me, a very poor retarded boy who showed me a different meaning to life. Sam’s Story is about the poverty of Sri Lanka and the war that has killed more than 60,000 people – the book is a lesson in life – that is how I see it. Penguin India is putting out a new Sam’s Story in April and a movie is almost completed in Sri Lanka. Sam’s Story won the Gratiaen award for the best book in 2001.
***

To read more of this interview, please click here

Tuesday, February 03, 2009

W I S P

We have a new columnist on the website : Bill Keeth.


Here's the introduction on the website:

Bill Keeth lives in Middleton, Greater Manchester, in the UK, and he is already known to readers of this Newsletter.

Bill has self-published two novels – Every Street in Manchester, which was shortlisted for the prestigious Portico Literary Prize** alongside titles by two authors who are household names in the UK and beyond, and Manchester Kiss, a contemporaneous sequel. But his most recent self-published book is a non-fiction title – Write It Self-Publish It Sell It (pub. 2008), long-listed for the Portico Prize, which aims at supplying definitive answers to the many enquiries Bill has received about self-publishing subsequent to self-publishing his novels and selling on thousands of copies.

Writing a long-binned first novel back in 1977, Bill Keeth went on to become a founder member of a writers’ workshop at Manchester College of Building, where his debut novel was actually begun as a short story.

‘Much more recently,’ he says, ‘I got a yen to develop that short story into a full-length novel, whereupon it took me about eight months to do so, with Manchester Kiss following soon afterwards. And it was whilst unsuccessfully trawling the writers’ manuals with a view to placing Every Street in Manchester with a UK publisher or literary agent, I learned that best-selling Manchester writer Billy Hopkins (http://www.billysbooks.info/) had originally been constrained to self-publish his debut novel.

‘So it was with my forerunner’s advice in the matter that I successfully self-published at long last, fulfilling my dream of foisting a work of fiction upon an unsuspecting public.

‘“Don’t pay it back, pay it on,” says Lee Child’s macho hero, Jim Reacher to a character he lends money to in Nothing to Lose, pub. 2008. (In my humble opinion, the best Jim Reacher book yet.)

‘And I will be happy as Larry if, in paying on via this monthly column of mine, I go some way towards helping even one aspiring writer amongst its readership to follow suit.’

***

To read more about Bill Keeth and his first story, please click here.

Friday, January 30, 2009

Sam’s Story by Elmo Jayawardena


When I started to write this review, I realised that this is the third review about book that has, as a central character, a houseboy – the first was Half of a Yellow Sun by Chimamanda Ngozi Adichie and the second was Reef by Romesh Gunesekera.

On this website, http://www.samsstory.per.sg/main.htm, a synopsis of the story reveals that Sam’s Story is a story set in the year 2001. It is the tale of Sam, ‘raised in a tiny village too remote for maps, brought to work in Colombo as a house-boy, finding momentary happiness in a life muddied by difficult days and countless painful moments. … [He is] a dim-witted, illiterate houseboy, whose lot in life was to tend the gardens and care for dogs in the home of an upper-middle class family in urban Sri Lanka. … His story begins at the River house where he finds employment as a houseboy, and ends in his village to which he returns. In between the two, Sam relates episodes from his life; people that have passed through it, events that changed his world, happy childhood hours he enjoyed, tears he has shed, and days he wished he could forget. In counterpoint to these snapshots of the past are descriptions of his life at the River house; a lifestyle far removed from his own background, with people he comes to love, others he’d love to hate, and the myriad events that dotted the otherwise peaceful days he spent there.’

Elmo Jayawardena is a Sri Lankan pilot employed with Singapore Airlines. He writes in his free time and is the founder of a charitable organisation, AFLAC (Association for Lighting a Candle).

I first met the author at the LitBlogger event organised by MPH here in Kuala Lumpur. I listened to him speak about the book and his experiences. I remember him saying that there is not a single ‘big’ word in Sam’s Story. After reading the tale, this is true. The language is very simple which lends a charm to this book. Interwoven in this tale is the pain that war brings; for example, Sam practically hates the other workers in the house – Leandro and Janet. And the reason is revealed in the telling in this one sentence: Janet was from the other side that threw bombs. When the author spoke of his houseboy, he said that Sam has no idea what the war is about. Sam is Sinhalese and a Buddhist. He jus knows to hate the 'others'.

My favourite passage in this book is this:
'I cannot honestly remember a single day that someone laughed in my own house. I mean, really laughed, with a lot of noise and stomachs shaking, like the people who came ot the river house did. We smiled at times. Not too often, but we did smile from time to time. Even when we smiled, they were small smiles. I think the poor can give only small smiles. Since we were poorer than the poor, our smiles were mostly smaller than small similes. Just appeared and disappeared, like a broken moon in a cloud filled sky.'
Sam’s Story won the prestigious Graetian Award in 2001 for the best literary work in English in Sri Lanka. It was also long listed for the International IMPAC Dublin Literary Award in 2003. This is a story that is both poignant and touching. You will certainly have a smile on your face long after you’ve read it.
***
To read this review on the webiste, please click here.

Thursday, January 29, 2009

Reef by Romesh Gunesekera


Right at the very end of my copy of Half of a Yellow Sun by Chimamanda Ngozi Adichie, I read that one of the novels the author liked was Reef by Romesh Gunesekera. I decided I would re-read this book.

Reef is not a difficult book to read for it is small in size. On this website, this is the description given for this book:

Reef is a love story set in a spoiled paradise. It is told by Triton, who at the age of eleven goes to work as houseboy to Mister Salgado, a marine biologist obsessed by swamp, sea movements and the island's disappearing reef. Triton learns to polish silver; to mix a love cake with ten eggs, creamed butter and fresh cashew nuts; and to steam the exotic parrot fish for his master's lover. As Triton recounts his story, an extraordinary voice emerges: naive and knowing, fearful and brave, a boy becoming a man in a world on the brink of chaos.
On the same website, it is stated that, ‘Romesh Gunesekera was born in 1954 in Sri Lanka where he spent his early years. Before coming to Britain he also lived in the Philippines. He now lives in London as a writer but travels widely. Recently he has been a writer-in-residence in Copenhagen, Singapore, Hong Kong and Southampton.’ I was fortunate enough to listen to him speak when he visited Silverfish Books, in Kuala Lumpur. There are two things I remember most from this meeting:


  1. When he read from his book, he chose a passage which describes one of Triton’s creations. He spoke so very slowly; every word was pronounced and there was nothing hurried in his manner. It made listening to this author an absolute joy.
  2. He mentioned that when his agent first saw the manuscript, the agent commented that it was a very short work. I suppose, I found it such a fascinating thing to remember because I often wonder what was implied in that comment. Was it a query as to whether the book was any good since it was so short? I never dared to ask.
The book was certainly very good. From the moment I started, I could not put this book down. The words flowed from start to end. Here are two passages that will show how meticulous the author was in his writing:

Mister Salgado, Ranjan Salgado, was a bachelor. A sweet smell clung to him, heady and unnatural, derived from an ivory bottle shaped like a bell and impossible to open properly. He would shake tiny, powerful drops out of the metal clasp at the top of its narrow neck and rub them on his hands, or his face or body. The scent made me think of cinnamon bushes, but it was the nature of the town to deceive.

&

After serving the tea, I went out into the garden. With the sun down, the air moved gently as though the plants had begun to breathe again having held their breaths all day. The drone of insects rose like scent. It was the time of the day when flowers would fall from the tress, petals bouncing off the small branches and resting briefly on a lower leaf before being released to touch the earth and die. The ground itself fiving a little as the heat of the sun left it….
The backdrop of the story is the civil war in Sri Lanka. It is in the last sentence of this novel – a sentence that is so beautiful and profound – that the horror of war and its lasting repercussions are most evident: A couple of hours later he flew out, after a glimmer of hope in a far-away house of sorrow.

I thoroughly enjoyed reading and re-reading this book. The story has remained with me to the point where I often wonder what happened to both Mr. Salgado and Triton. Did Mr. Salgado meet his beloved Nili? Did they rekindle their romance? Did Triton find much happiness in the UK? Then, I realise, it’s just fiction. And I feel sad.

***

To read this on the website, please click here.

Ibu Maluku: The Story of Jeanne van Diejen by Ron Heynneman



This is what is stated on the back cover of this book:

IBU MALUKU is the unique story of a resolute woman, Jeanne van Diejen-Roemen, who survives the hardships of remote jungles, the horrors of two world wars (including a 3 ½ year internment by the Japanese), and the life-threatening political upheavals that preceded the birth of the Republic of Indonesia.

Her story reminds one of the exploits of Florence Nightingale, for Jeanne is also driven by an overriding sense of duty: to relieve the suffering of her less fortunate fellow-men.

During her often extremely difficult life, she distinguished herself as a planter, army nurse, midwife, gardener, and social worker. During the Japanese invasion, the stout-heartedness saved Ternate from total annihilation. After the war, she spearheaded the fight against leprosy, and enabled hundreds of Moluccan lepers to again assume a useful role in the society that had once exiled them. She also implemented plans to bring isolated forest people into the 20th century, and founded a hospital, a school, an orphanage, and home for the elderly. In recognition of her efforts, Indonesia’s first president Sukarno started calling her Ibu Maluku – Mother of the Moluccas – and the name stuck.

Though she had a carte blanche with Sukarno, her outspokenness finally brought her into conflict with him. This forced her in 1957 to leave the Moluccas and the people who had given her their trust, and she settled in Sittard, in the Limburg Province of the Netherlands. In 1978 she returned to the Moluccas to celebrate her 82 birthday among her Moluccans. Were it not for other commitments, she would have stayed, for it was there that she truly felt at home.

Many books about the East are centred around the countries where either the British or French were colonial rulers – India, Singapore, Sri Lanka, to name a few. It is rare to read a story that is based in an Asian country where the Dutch were colonial rulers. So, I was intrigued by this book the moment I laid eyes on it. The cover image, The Bay of Ternate by Antoine Payen, gives that visual impression of what it must have been like when Jeanne first arrived in Ternate. However, it is through words and stories narrated that one learns of the true condition of the people and the place that Jeanne van Diejen-Roemen came to know, care for and love.
Despite the fact that Malaysia (where I live) is geographically close to Indonesia, I did not know where these islands, Maluku islands, are. I was, therefore, very grateful that the publishers had thought to include maps of the region.

The sub-title, on the cover of this book, states ‘An extraordinary life in the vanishing world of the Dutch East Indies’. Throughout reading this tale, it was hard to separate the fact that I was reading an account of someone’s life story; I often felt I was reading fiction. There was romance, tension, murder, betrayal and all set against the backdrop of political upheaval.

It is a long story and covers 636 pages – it must have taken sheer tenacity on Ron Heynneman to keep at this book and indeed, it is stated that the project took 25 years! Written in Jeanne Can Diejen-Roemen’s voice, the author managed to infuse Ibu Maluku’s emotions, ideas and thoughts, which all added to the originality of the tale.

There are many passages I enjoyed in the book but one which touched me – because it showed just how much courage she had, the genuine love of the people of the islands, her compassion and the acceptance of what was – was this:
… Sukarno kept pressing, and … I finally blurted out: “And what should I tell them in America, Mr. President? Should I tell them the truth – that we lack doctors, hospitals, road, and houses? Should I tell them that our people go hungry because rice is disappearing into the black market, and that your soldiers are throwing my people in jail for making salt from seawater, whereas before we were exporting salt?” … Sukarno’s eyes narrowed, and his face turned into a mask. … Shocked, I realised I had gone too far. I, a Belanda, had offended the President of Indoesia and made him lose face! … Then he brusquely turned around and left … I went over the disastrous conversation sentence by sentence – and then I realised, with a sinking feeling, which words had offended him. “Your soldiers are throwing my people in jail for making salt from seawater, whereas before we [the Dutch] were exporting salt.” … What had happened could not now be undone, but I was at peace with myself. I had remained true to myself, and true to the people of the Moluccas whose case had been entrusted to me.

It is a book I will certainly recommend that people read.

***

To read this review on the website, please click here.

Cut The Strings - The True Story of a Soul Reclaimed by Lynn Grocott



I was a little stunned when Lynn sent to me a copy of this ebook. I never expected it and I read it with much interest. My attention was grabbed right from the start. It was these words which set me reading this entire ebook in one go: Bryn Jones, who wrote the Preface used these words when signing off: ‘proud friend to Lynn and Glen Grocott.’

I was intrigued and thought that Lynn Grocott must be a special person for a man to write such heartfelt words. And the more I read the more reassured I was about this fact.

The story that Lynn Grocott shares in this book is harrowing, almost. It tells the tale of a girl who lost out on her childhood and was thrust into the adult world well before her time. It is a tale of physical abuse, sexual abuse, being bullied at school, admission to a psychiatric ward, facing the suicide of her parents, multiple sclerosis and even anorexia nervosa. In any ‘normal’ human being, even one of these illnesses could cause the sufferer to consider suicide and yet, Ms. Grocott not only overcame most of these challenges in her life, she has changed her life around and is now helping others.

The most significant part about this entire tale is the fact that she refused to accept that she has refused to accept that she is the victim in any of these circumstances. She says:

This is my story of breaking free from life as a victim and becoming an individual in my own right. It is my story of gaining happiness.

Furthermore, it is obvious that this realisation is the point where she made up her mind to change her life around. Ms. Grocott says this:

This book does not ask for your sympathy, dear reader; its aim is to show you that you can overcome anything in life. Absolutely nothing need hold you back. Even if now you feel like a victim, you can be a winner, turning unspeakable sexual and physical abuse, violence, deprivation and heartbreak into positive thought and action. We can all become winners instead of victims. We can learn to empower ourselves. We can become aware that we are all unique individuals with something to offer to the world. What is more we owe it to ourselves to discover how magnificent we truly are.
The reason why Ms. Grocott wrote this book is clearly stated when she writes:

I hope to illustrate to you that each human being has an incredible strength, and the vast resources to cope with anything that hinders happiness, peace and joy. I am not for one minute suggesting that by reading this book you will not face another challenge in your life, but hopefully you will be better equipped to deal with adversity when it rears its head.
I can add that without a doubt, Ms. Grocott has achieved her aim.

Reading Ms. Grocott’s tale, I found myself agreeing with all of the steps she took in her life save for one – I did not particularly like the fact that she made a decision to be voluntarily absent from one of her parent’s funeral. It would seem unthinkable to me; however, considering her position, her needs and perhaps the cultural divide between us, I was quick to stop myself from judging her and instead began to understand her position.

The language used in this tale is very easy to follow and the only thing that will stop the flow of reading this book in one go would be tears and having constantly to reach for tissues.

In the end, this is a story that is all together inspiring and worth every penny. It is opportune, therefore, to end by quoting directly from Ms. Grocott:

I have learned that the most important purpose in life is to be happy. Happiness is a state of mind; and despite what goes on around us we get to choose how we feel about it. …

I have learned the true value of happiness, it cannot be bought and it cannot come from other people. Happiness comes from accepting yourself, liking yourself and believing in yourself.

How to Be Happy at Work

I received the following article via email and thought I'd share it on this blog.
__________
What if someone told you that you could be totally happy at work? You would probably find it hard to believe. You're not the only one. Tens of thousands of people are unhappy at their job every day. From accountants to interior designers, they all wish they were somewhere else. What if I told you there were ways to ensure you are happy at work? Would you do them? Let's find out.

1. Pick a career that fits your lifestyle. Are you busy in the morning but free in the afternoon? If so look for a position that's not the usual 9 to 5 routine. This will allow you to get more things done for yourself, and have less stress while you are at work.

2. Think about the commute. If you enjoy sitting in traffic, then the big city drive is for you. You would be the exception though. No body I know likes fighting traffic first thing in the morning only to spend the rest of the day in a cubicle. Look for a position a little closer to home.

3. Consider your pay rate requirements. If you are thinking about a job that pays less than you need to make, STOP! If you work for less money you are never going to be happy. Do not count on raises or bonuses to fill in the gaps. Decide how much you want to make and stick to it.

4. Do you enjoy socializing with others? Most companies have strict rules and guidelines regarding social interaction at the office. Not to mention it's hard to talk with someone through a cubicle wall or an office door. Look for a company that will allow you the freedom to socialize while you work.

All of these are very important things to consider when choosing a job or starting a career. There are those who actually like the daily grind of corporate life. If you are like me you enjoy a little less stress in your life. That's why so many Americans are deciding to work from home these days.

Isn't working from home only for retirees? Not at all. There are plenty of people with lots of reasons for working from home. You set your own hours, income is only limited by how much you want, no one is going to tell you to get off the phone, and say goodbye to that tedious commute.

A few years ago working from home was a hard thing to commit to. Today however, it is pretty easy to get started. All you really need is a phone and a computer with an internet connection.

If you think you are not ready to run a business from home, consider the following. These days it's easy to work a full time job AND work from home. That may be the perfect way to supplement your income.

If you really want to be happy at work keep these simple things in mind. You may decide you like the idea of being your own boss. Keep your options open and whatever you decide, good luck.

For more information about running a successful Internet business, visit Diego Norte's blog here: http://www.DiegoNorte.com/blog/

***

To read this article on the website, please click here.