Tag : interview

July 15, 2014 by

Female in the Lead

For Annette Ezekiel Kogan, founder, vocalist and accordionist of the punk klezmer band Golem, being the female bandleader of an all-male band is a complicated balancing act.

“I feel like I go in between worlds —I’m the sexy singer, and then I’m conducting, running the show. I’m the band mother to all the guys.” 

Annette Ezekiel Kogan (courtesy GolemRocks.com)

Annette Ezekiel Kogan (courtesy GolemRocks.com)

Kogan came to klezmer in a roundabout fashion. Inspired by her grandfather, who had immigrated to America from Ukraine, she began studying Russian as a Columbia undergraduate.Afterteaching herself the accordion, she picked
up and sang Russian and Ukrainian folk songs, to the delight of fellow students. Then, while studying Proust in a PhD program, she got interested in Yiddish and realized that she wanted to play klezmer, declaring,“Jewish music is mine.” So she decided to found her own band, Golem (named for the legendary creature of clay created by Rabbi Judah Loew ben Bezalel in sixteenth-century Prague).

Golem played its first gig in November 2000. Over the course of 14 years and six albums, the ensemble’s music has evolved significantly.

“When I started Golem, I had no interest in original songs. I said, I’m interested in preserv-
ing the Old World through those old songs —my grandfather’s world,”Kogan said,in a recent conversation at the Lilith office.

Then the band’s music began to express juxtapositions between contemporary American-Jewish experiences and the “Old Country” of Eastern Europe. The new direction was partially inspired by the immigrant experience of Kogan’s husband, Sasha, who emigrated from Eastern Ukraine in 1992. Just as Kogan’s grandfather had spoken of pogroms in Dnipropetrovsk, Sasha’s family fled Kharkov and claimed refugee status in the United States because of their own experience of anti-Semitism in that city.

“A lot of our original songs are based on my husband’s family stories —folk songs for a new experience that’s the same as the old experience,” Kogan said. The song “Mirror Mirror,” off 2009’s “Citizen Boris,” exemplifies this blend of old and new: she based the song on both her great-grandmother’s and her mother-in-law’s experiences of immigrating from Eastern Europe. The song lyrically melds multiple generations of female longing.

“Tanz,” Golem’s new album, combines traditional klezmer motifswithrockandpunk,and makes heavy use of Russian in its lyrics, along with Yiddish and English. Singing in a Slavic language in addition to Yiddish, the band hopes to subvert the idea that the shtetl and its culture were purely monolingual.

“I think of Golem as using all the languages in the shtetl,” Kogan said.“There was no shtetl in which it was exclusively a Yiddish world. There was Yiddish and Ukrainian, or Russian, or Polish, there were Gypsies coming through —it was a very mixed world.”

A striking change in Golem’s attitudes over time is the band’s increasing incorporation of Jewish religious tradition into their music and performance. Their new song “Mikveh Bath” focuses on the quintessentially female ritual of immersing in a mikveh to purify oneself prior to marriage, and thereafter monthly prior to resuming sex. The slow, sensual song is told from the point of view of a young girl in the shtetl, immersing herself before meeting her bridegroom for the first time.

“The mikveh bath will purify me/before I lie down in my wedding bed./Will he close his eyes before we kiss? Will he run his fingers through my hair?/Will he undress in the other room/Or watch me as I say the evening prayer?”

With the tentative eroticism of its lyrics, the song recasts the mikveh ritual as an empowering expression of female sexuality.

At the same time, as a female musical performer, Kogan has also had to adapt to very traditional religious environments. When the group is hired for private events, for example, clients occasionally request that she refrain from singing, following the constraints of kol isha, an Orthodox prohibition on women singing in public. However, for public performances, the band’s policy is to reject bookings at which Annette would be barred from singing.

“The band —they get angry on my behalf more often than I do,” she says, laughing. “I’m a female leader, for sure, in all ways.”

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May 6, 2014 by

Jill Smolowe on Four Funerals and a Wedding

Jill Smolowe, author of "Four Funerals and a Wedding." (Courtesy Phyllis Heller)

Jill Smolowe, author of “Four Funerals and a Wedding.” (Courtesy Phyllis Heller)

Jill Smolowe, a journalist and memoirist, had her own annus horribilis, only hers lasted a year and a half.  In that short span of time, she endured the deaths of her beloved husband, Joe, her mother-in-law, and her own mother and sister.  Smolowe kept waiting to fall apart in the wake of such loss, and yet she didn’t. Some untapped reserve of strength and resilience kept her going, and able to find meaning and even joy again.  In this interview, she shares her hard-won wisdom about grieving with Lilith fiction editor Yona Zeldis McDonough.

YZM: What made you decide to write and publish your book Four Funerals and a Wedding?

JS: Like so many Americans, I had a set idea that grief involves specific stages. Yet I went through no denial, anger, bargaining or depression. Instead, as I lost my husband, sister, mother, and mother-in-law over a period of 17 months, my focus was on putting one foot in front of the other and figuring out how to reconnect with the joy in life. The more friends told me I was “amazing,” the more I wondered if there was something wrong or abnormal about my sorrow. Then I came across the work of George Bonanno, one of the country’s leading bereavement researchers. That’s when I learned that Elisabeth Kübler-Ross’s five-stage cycle of grief has long since been discredited. (She intended her cycle to apply to the dying, not the bereaved.) Research from the last 20 years identifies three distinct groups: those who are overwhelmed by grief upwards of 18 months; those who recover within 18 months; and those who return to normal functioning within six months, and even within days. This last group is labeled “resilient” and–surprise, surprise–these people constitute a majority of the bereft. My book aims both to put a face on this group and to challenge misconceptions and assumptions about grief.

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April 8, 2014 by

Ayelet Waldman on chance, and obsession

Folded into Ayelet Waldman’s illuminating new novel, Love and Treasure, is enough provocative material to fuel Jewish and feminist discussions for months to come. Paternalism and tenderness in the early days of psychoanalysis, the loosening of attitudes and corsets for progressive women of the European upper classes, the emergence of first-wave feminism and the suffragist movement. And: art and jewelry looted by the Nazis, controversies over the founding of the State of Israel, the tight family lives of Syrian Jews in the Diaspora. Ayelet Waldman talked to Susan Weidman Schneider just before the book’s publication. 

LILSp14 ayelet waldman

sws: So, in 2013 a young New York lawyer goes to Budapest to return a necklace her Jewish grandfather took from the Gold Train — filled with valuables that had belonged to Jews in Hungary when the Nazis rounded them up in 1944. Was it thinking about the lives behind those watches and rings and lockets that spurred you? What triggered this broad-sweep historical novel?

aw: I was a Holocaust-obsessed teenager, but I was not familiar with the specific history of Hungary — and had no idea about this train! Here’s the real story of how I came to this. One of my dear friends became ambassador to Hungary just when I was starting a new novel. I wanted to visit and deduct it from my taxes so googled “Hungary, Holocaust, art.” The Hungarian Gold Train was my first hit. As soon as I read that Wikipedia entry, I knew this was my story.

I found that when one goes to a foreign country to research a novel, it is very helpful to have a friend who is the U.S. ambassador. A brilliant feminist historian in Budapest, Judith Acsady, told me that if I was interested in the pre-WWI period I’d have to read this amazing women’s newspaper. I spent a week in the archives of the Budapest main library with a young graduate student in women’s history translating for me material about the suffragists. The whole book just landed in my lap then — from women not being allowed out without an escort to creating a women’s movement in just a few years! “A big hat is a kind of imprisonment,” wrote Rosa Schwimmer, the Jewish feminist leader — and she also wrote a critique of the dowry system as sexual slavery of women — side by side! So impressive!

There’s a whole archive of Rosa photos in the New York Public Library. That the 1913 Seventh Congress of the International Women’s Suffrage Alliance in Budapest was photographed is incredible!

sws: After WWII, the novel spools back to the early years of the 20th century, and enmeshes us in the facts and the drama of the suffragist movement in Eastern Europe, which was fueled in part by Rosa Schwimmer and her secretary, Gizella Weisz, a Jewish dwarf from an illustrious family of scholars and performers. 

aw: Later, Gizella and her family were both tortured and saved by Mengele in Auschwitz.

sws: Then you have the disaffected Israeli guy, Amitai, from a large Syrian Jewish family of art dealers. He has been pretty immune to the history of the Holocaust, and feels resistant even to the State of Israel, but he’s also on a search for looted art.

aw: Israel. I even made aliyah myself once for 6 months. I had a boyfriend who was a Syrian Jew — his parents were sent by Youth Aliyah to live on a yekkish [German Jewish] kibbutz. I visited them. Those Germans on the kibbutz were as German as I had ever experienced.

My Israeli publisher, before they bought this book, said, “Seems a little anti-Semitic.” Of course my British publisher said, “It seems a little pro-Israel.”

sws: Characters in the book talk about how post-Shoah Zionists used the survivors to move world opinion — and the British — to help form the State of Israel.

aw: I used actual quotes. When an Israeli character in the book says of the Holocaust survivors that “They are garbage,” I pulled the quotes from letters of Ben-Gurion. I knew I couldn’t write this without being accused of anti-Zionism, so I quoted directly. The idea that those who survived could only have survived by evil means, that they were broken and ruined by their experience and also evil…. They needed the boatloads of survivors, and especially children — to be fired upon — and the British would be forced to turn over Israel.

sws: Nothing ties up totally neatly in this book. Ilona, a young Hungarian woman who survived the camps, manages to get smuggled into Italy, then to pre-state Israel. We never hear about her again.

aw: I wanted to mirror the sense of the fragmented stories — especially regarding the Holocaust. You can never really know the truth when people have vanished and their stories have vanished. You can only imagine — and some of it is wrong. I wanted readers not to know—mirroring the sense I had in doing my research that some isn’t knowable. 

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April 7, 2014 by

Jewish Woman, Muslim Man, and What This Unlikely Literary Pairing Produced

Bosnia_List_CoverA Jewish woman collaborates on a book with a Muslim man?  Sounds like the start of a joke—except that it’s anything but.  When writer and teacher Susan Shapiro was forced to undergo physical therapy for an injured back, she met a young therapist whose personal story soon had her riveted.  She drew it out of him, page by page, and the result, The Bosnia List, just published in March by Penguin.  Fiction Editor Yona Zeldis McDonough talks to Shapiro about this highly unlikely pairing and the unexpected insights it yielded.

YZM: What initially drew you toward Kenan Trebincevic?

SS: I tore two ligaments in my lower back and Kenan was my physical therapist.

One day, he told me to do leg lifts and went to help another patient. As a journalism teacher I always carry a stack of student papers. The exercises were boring so I took out papers to grade. Kenan got annoyed I wasn’t paying attention to the workout. He looked over at the essays and asked sarcastically “What I did on my summer vacation?” in his Eastern European accent. I said, “Actually, my first assignment is to write three pages on your most humiliating secret.”

He laughed and said, “You Americans. Why would anyone do that?”

I said, “It’s healing.” And I added also that my students want to get published in the New York Times and write books. That night he emailed to see if I was okay, which I thought was very menschy. I sent him a poignant piece my student Danielle Gelfand published in the New York Times about how she and her mother, a Holocaust survivor, eat bacon cheeseburgers on Yom Kippur, as a way to cope with her father’s suicide on that day 17 years earlier. I think that piece inspired Kenan.

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March 20, 2014 by

“I Wanted to Be Pat Boone’s Daughter.”


When Sue William Silverman and I met to discuss her new memoir, The Pat Boone Fan Club: My Life as a White Anglo Saxon Jew, she played “Exodus” for me on her iPhone. (Boone actually wrote the lyrics for the theme song for the movie Exodus, which lyrics he titled “This Land Is Mine.”)

Me: It sounds really…generic.

Sue William Silverman: Everything about Pat Boone is generic. That’s why I loved him, I could make him into anyone I wanted him to be.

Silverman’s memoir is a story of among other things, evolving identity, of wishing your reality wasn’t yours in the most profound way, of doing whatever it takes to escape it and become yourself.

Lilith: The Pat Boone Fan Club opens with a quote from James Baldwin:

 “Identity would seem to be the garment with which one covers the nakedness of the self: in which case, it is best that the garment be loose, a little like the robes of the desert, through which one’s nakedness can always be felt, and, sometimes, discerned. This trust in one’s nakedness is all that gives one the power to change one’s robes.”

Can you comment on why you include this?

Sue Silverman:  To me, this quote conveys the complexity of identity, which is what I explore in the book. How, when, and why do we change our identity? What parts of ourselves do we reveal? 

For me, growing up in a troubled, incestuous family, I lost a sense of my true self, including a sense of my Judaism. Throughout the book, I tumble through various identities: I tried to pass as Christian; I tried being a kibbutznik, picking apricots in Israel; as a hippie, I tramped cross-country in a VW camper; I vacationed in Yugoslavia with a boyfriend who, it turned out, was anti-Semitic; I married – and divorced – two Christian men.

More than anything – and this is the heart of the book – I wanted to be Pat Boone’s daughter. I wanted that very Christian, squeaky-clean 1960s pop star to adopt me. Why? Because my father sexually molested me growing up.

But why Pat Boone? For hours, as a young girl, I gazed at photos of him and his beaming, golden family in fan magazines. If Pat Boone could raise four daughters, couldn’t he raise me, too? In my child-mind, he was the ideal of what a father should be: someone nurturing, caring, safe.

So the identity I most wanted was that of Pat Boone’s fifth daughter!

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March 18, 2014 by

Busting Open the Good Mother Myth

Good Mother Myth - image of bird and cracked eggThe good mother. She bakes her own challah and breastfeeds, is impeccably groomed while holding down a career or volunteer job, nurtures her family 24-7–and in today’s world, she is also spiritually attuned and a strong, independent woman.

Of course, she doesn’t exist. Avital Norman Nathman, a writer and mom living in Massachusetts’ Pioneer Valley, has edited a collection of essays tackling this new spin on an old myth from many perspectives, introducing readers to a passel of moms who do not fit the mommy mold, and are confronting their own Good Mother Myth myth by writing their truth. Whether they struggle with mental illness, gender roles, or community expectations, the dozens of voices collected in “The Good Mother Myth” create a mosaic that is so much richer and interesting than any perfect mom could be. Nathman spoke with Lilith on one of this winter’s many snow days about media myths, policy changes, and hearing from a panoply of moms.

Sarah Seltzer: Tell me about the genesis for this collection.

Avital Norman Nathman: I’ve been writing about parenting and motherhood for a while now, in addition to my other areas of interest. And being immersed in that topic, I was hyper-aware of how the mainstream media framed their stories and discussion surrounding motherhood. Motherhood would either been seen as this sanitized ideal that we’d all supposedly aspire to or various stories would be co-opted and used as cautionary tales. i.e. “You don’t want to end up as this BAD MOM,” working the fear and judgment. 

SS: So why did you decided to do it as anthology of multiple voices instead of just yours!

ANN: It all kind of came to a head for me when Time Magazine came out with their now infamous “Are you MOM ENOUGH?” cover featuring the mother nursing her toddler (while he stood up on a chair. Yay shock value!). It felt superficial, especially when there are so many legitimate and pressing issues facing mothers and families. But those aren’t controversial or sexy enough to merit the big headlines, I guess.

So, I started thinking about a book where I would write about motherhood, not necessarily without a filter, but without intentional framing. Allow stories that just “were” so to speak. The more I started thinking about it, the more I realized that if I used only my voice, I wasn’t doing much to change the current dynamic. Hence the idea to make it an anthology.

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February 27, 2014 by

Winning Any Office (or Male-Dominated Environment)



Rebecca Sive was a cofounder of the Jewish Fund for Justice, one of the founding organizers for EMILY’s List and was included in the book Feminists Who Changed America: 1963-1975. This is still only a small part of her résumé, but Sive has taken her knowledge, experience and passion for women’s rights and penned the book Every Day Is Election Day: A Woman’s Guide to Winning Any Office, from the PTA to the White House” called by Publishers Weekly “a clear and persuasive roadmap to female political success.”

Sive’s book is both down-to-earth and invigorating as it champions women to move forward and gives concrete details on how to do so. She also supplies real-time advice from a host of powerhouse women in the worlds of politics, business and philanthropy. While her book is angled toward politics and running for office, Sive’s advice can be used in any other male-dominated environment.

Danica Davidson, a journalist whose writing on women’s rights and women’s issues has appeared in “Lilith,” “Ms.,” MTV and CNN, interviewed Sive.

Danica Davidson: How did you first get involved in feminism?

Rebecca Sive: I became a feminist after reading Sisterhood Is Powerful and The Dialectic of Sex while in college. In different ways, each was eye-opening, informative and inspirational. Although I had always been independent and a leader, these books put a face and a politics on my views, interests and political commitments.

My mother and father had taught my sister and me to be independent and to do good, so it was a relatively short step to becoming a feminist activist with these goals, once I learned about the women’s movement (around 1971). Before joining the American Jewish Committee — after graduate school — and co-founding the Jewish Fund for Justice several years later, I was a college and graduate school feminist activist.
I led a campaign (pre-Roe v. Wade) to provide contraception services at my college (Carleton College) health clinic. Before we succeeded — after organizing and running a campus-wide campaign — women students had to travel to a Planned Parenthood clinic 40 miles away. (Needless to say, it seemed that whatever the boy students needed was available!)

At the American Jewish Committee, I organized various women’s projects whose goals were to further collaboration among Jewish women and women of other ethnic groups. All the projects had a feminist focus. Among the projects was the Illinois Women’s Agenda, a coalition of over 70 organizations, including Jewish women’s organizations, such as the National Council of Jewish Women. This was the first modern women’s-movement-era coalition to advocate for economic security, women’s reproductive autonomy and other issues in the state. (An article I wrote about it is in this book: The Roads They Made: Women in Illinois History).

Another project was an exhibit on Illinois women’s history for the U.S. Bicentennial, which led to the re-appearance of a Jewish woman, Hannah Shapiro Glick, who started the historic 1910 garment workers’ strike in Chicago.

The Jewish Fund for Justice (JFJ) was an idea of Heather Booth’s and Si Kahn’s and maybe a couple others. We met for the first time at the Midwest Academy in Chicago, which hosted many progressive gatherings (and where I was trained by Heather as a community organizer). All of us had considerable social justice organizing experience. We knew the history of the American Jewish community’s commitment to social justice and wanted to institutionalize it among like-minded donors at a time — the Reagan era — when conservatives were trying to dismantle civil rights achievements.

DD: How do you think being Jewish helped shape your beliefs on social justice, feminism and leadership?

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February 20, 2014 by

Print is Dead

FigTreeBooks_LogoPrint is dead, or so the pundits have been telling us. And yet, in this electronic age when reading matter has been whittled down to fit on a smart phone, along comes Fig Tree Books, a brand new print publisher whose focus is the Jewish American experience. A blend of original titles and revered classics, Fig Tree is the brainchild of Fredric Price, a drug developer, and it will be launching in early 2015. Lilith’s fiction editor, Yona Zeldis McDonough, talks to Fig Tree senior editor Michelle Caplan about Fig Tree’s goals, ambitions and how this “nimble” imprint plans to take advantage of “the new normal.”

YZM: Can you talk about the decision to start a new publishing company at a time whenever everyone is bemoaning the decline of print in general and books in particular?

MC: My publisher, Fredric Price, has had a successful entrepreneurial career developing drugs for rare diseases. While he has no professional background in publishing, he is an avid reader and has established two longstanding groups that read and discuss Jewish books and essays. He decided to focus his efforts toward creating the new home for the best fiction of the American Jewish experience. All of the changes that have occurred in publishing in the last several years create a window of opportunity for a small, focused, nimble imprint like Fig Tree Books. We can take advantage of the new normal because we do not have a pre-existing structure, organization or operating method that is struggling to adapt to the new publishing environment. Fred feels that the publishing industry is ripe for the same type of approach that he used when developing, marketing and selling “orphan” drugs. Rather than following the industry in trying to develop blockbuster drugs for highly visible illnesses like hypertension, he built very successful businesses by focusing on drugs for small populations. While Jews represent a small fraction of the American population, we are a significant percentage of the purchasers of literary fiction.

YZM: What drew you to this editorial position at Fig Tree?

MC: Fred has responded to the need for a publisher to champion emerging and unique voices and created a place where writers about the American Jewish experience can launch their work into the world with visible celebration and support. I have spent most of my career as a freelance editor, consultant and ghostwriter of fiction, creative non-fiction and film scripts. I’ve mentored both aspiring and established writers and I believe Fig Tree will be the home of American Jewish fiction writing for the 21st century. We will have a combination of original works plus what we call re-released classics, books that were previously published and are now out of print but are relevant and exciting to readers today.

YZM: What is the significance of the name Fig Tree?

MC: Our name is inspired by a letter from George Washington to the Hebrew Congregation in Newport, Rhode Island in 1790, in which he says “May the children of the Stock of Abraham, who dwell in this land, continue to merit and enjoy the good will of the other Inhabitants; while every one shall sit in safety under his own vine and fig tree, and there shall be none to make him afraid.” We feel that this event in American history captures the spirit of our democracy in which Jews and other previously religiously persecuted groups have flourished. The wisdom of our first president set the stage for a milieu of tolerance and acceptance, enabling Jews to thrive, and we could think of no better metaphor for the beneficence of the Jewish Experience in America.

YZM: Will there be any particular emphasis on writing by Jewish American women?

MC: We are interested in publishing novels of excellence that deal with the American Jewish experience and are agnostic as to an author’s gender, age, race and even religion. It is a rich mosaic that can be approached by anyone with a gift for writing and a topic that appeals both to Jews and others. We certainly do hope to attract beautifully written books by women writers. Our editorial staff is comprised of women with a keen eye for quality writing.

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February 4, 2014 by

What DID Nora know?

Nora_viewfinderLinda Yellin is a funny lady. To wit, her new novel, What Nora Knew,“ is crammed with snappy one-liners, snarky apercus and a whole lot of good-humored sass. Whether intentionally or not, Yellin has joined ranks with Ephron in turning out a particular kind of humor, one that is specific—if not unique to—Jewish women.  She talks to Lilith Fiction Editor Yona Zeldis McDonough about concealed vibrators, the  enduring appeal of rom-coms and the nuances that separate the funny girls from the boys:

Yona Zeldis McDonough: You have a background in advertising; how did you transition to writing fiction?

Linda Yellin: I’m sure there are people who’d say advertising is fiction, but that theory aside, my first novel was ninety percent true. So it was only sorta-fiction. I changed all the main players’ names to keep my relatives from getting mad at me. I didn’t want to get un-invited to the family seders.

The next book, The Last Blind Date, was a memoir, so that was technically non-fiction. But I guess none of my cousins got offended because they’re still speaking to me. What Nora Knew is a novel, although Nora Ephron and her movies and insights are real, so I guess I’m still transitioning into writing fiction.

YZM: Your protagonist, journalist Molly Hallberg, has had some pretty entertaining assignments: learning to dance like a Rockette and sneaking vibrators through security scanners. Any of these drawn from real life experiences?

LY: Absolutely. Molly and I have a lot in common. Most of her assignments are ones I’ve done for MORE magazine. Including one where she spends a day wearing kegel underpants. (One-inch silicone plug in the crotch…you can figure out the rest.)

The vibrators was my favorite assignment. There were three of them – all “disguised” like cosmetics: a lipstick; a mascara; and a blusher brush. I stood in line at the Family Court building in New York thinking: it’ll be really great for the story if I get busted for doing this. (Security guard: “Would the owner of the vibrating mascara please step out of line?”) But all along I was praying that I’d pass through. When it got down to story-versus-mortification, I was more afraid of mortification. Molly Hallberg’s braver than me.

YZM: What Nora Knew is an homage not only to Nora Ephron but to the whole Hollywood tradition of romantic movies. Can you say more about that? 

LY: There are certain constructs and expectations in romantic movies. We probably know from the get-go who the heroine will end up with, but if you care about the characters, you want to travel along with them and root for their success. Whether it’s Meg Ryan and Tom Hanks, or Meg Ryan and Billy Crystal, or Jennifer Lawrence and Bradley Cooper – romantic comedies are journeys with happy endings, and who doesn’t love that? And who doesn’t love Nora Ephron’s romantic comedies?

YZM: Do you consider Ephron a quintessentially Jewish humorist and if so, why?

LY: Her humor is quintessentially relatable, so it also covers Christianity, Buddhism, Atheism; you name it. But there is a wry, sardonic point-of-view in all of Nora Ephron’s writing that certainly feels Jewish. An oy-vey-can-you-believe-this quality. It’s the same one I grew up with while my aunts and uncles and cousins were debating life over corned beef and smoked fish.

YZM: How would you describe the differences between male and female humorists?

LY: Subject matter. Our humor leans toward relationships and emotion. Guys tend to vamp more on guy-stuff. Sex, sports, things that explode. Don’t hold me to this opinion, though. For sure, there’s a PhD candidate out there whose doctoral thesis would totally disagree.

YZM: What, in the end, did Nora know? 

LY: Plenty. That’s why it was so much fun to write this novel.


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