Interview with Poet Tyler Hall about Atop the Bookshelf

Today we are interviewing Tyler Hall about his poetry anthology, titled “Atop the Bookshelf.”

Tell us a bit about yourself.
To explain myself would require not just a paragraph, nor entire chapter or book, but a library’s worth of volumes. But here are a few facts about me: As of this interview, I am a security officer with a strong sense of justice and truth. I love cats, Japanese Anime, cosplaying, acting (I have written, directed, and starred in a handful of short films), watching ASMR (autonomous sensory meridian response) videos on youtube, drawing, exploring new places and shops in my hometown of Jacksonville. Along with the annual trips to North Carolina and regular visits to Pop Culture Conventions, one could say I am a man of many tastes and interests. 

Describe your anthology of poetry, “Atop the Bookshelf,” in a few sentences.
“Atop the Bookshelf” is my attempt at the poetry genre. While I see myself as more of a novelist, even the best writers cannot limit themselves to one genre or one format. I believe a writer should be versatile in their craft. That is why I have chosen to write in every type of poetry imaginable and in every genre imaginable. Focusing on one type of poetry or genre of fiction is, in my opinion, self-limiting. 

Who do you think would most appreciate your anthology?
Depends on whom I inspire with my words and who desires to read my work. If anything, Atop the Bookshelf covers every genre, and do I mean every genre! If you like adventure, it’s got adventure. If you like fantasy, it’s got fantasy. If you like a little science fiction, I added that as well! For those who enjoy reading religious texts, I have poetry that covers religion as well! I've even added a few comical poems for those who enjoy a good laugh! In short, there is something for everybody in "Atop the Bookshelf"! 

What first got you interested in poetry?
I would have to say my interest in poetry would stem from the brief, yet vivid descriptions of the events and situations of the overall text.

Your anthology contains a variety of styles, from haiku to traditional rhyming. Do you have a favorite type of poetry?
I cannot simply choose a favorite style as every style has its own strengths and weaknesses. For example, while Haiku is very vivid in so few words, it is also simplistic. Traditional rhyming is considered to be the “standard” of poetry, however it’s very limiting with the constant rhyming. 

Tyler Hall.

Where do you get your inspiration for your poetry?
For me, inspiration would have to come from everything I like. Be it nature, history, art, or what strange things my mind can cook up! If you could see my fantasies and my thoughts, it would outlandish and farfetched! Oh trust me on that! 

I would like to be, for once in my life, the guy who lives in a big palace with a lot of people...a wacky, wizard inventor, a lot of cute girls in legwarmers and oversized t-shirts, a few elves, fairies, ninjas, professional wrestlers, space aliens, a couple of soldiers, cats, super heroes, a robot,, a Christian pastor and a French chef to go along with it...why all this? I do not know! Let's add a library, a film studio, a theater, and a giant kitchen complete with a stockpile of food to go with these people as well! Oh, and did I forget the people in this fantasy live on island which is also its own country among other things? No? Well, now you know! This is just to help you visualize my intense imagination! 

Usually my work does slide between silly; for those moments I chose to be funny, to those moments where I chose to be extremely serious. 

Who is your favorite poet?
I do not have a favorite poet as I am more of a novelist than a poet. However, if I had a number of poets whose works I need to read more, they would include Walt Whitman and Lord Byron. Perhaps there are more, but for the time being, I am going to stick with those two. I also want to read “The Odyssey” in its entirety. 

Does writing ever take you to unexpected places or reveal things you hadn’t thought about before?
Absolutely! There are so places a many writer or reader can visit in words. Perhaps the same can be said about the various peoples, cultures, and nations one can meet in the words of a writer. The sad truth, however, is while these places are amazing, readers and writers alike will never be able to visit these worlds for real. 

And that is not just limited to locales either! Experiences such as meeting someone out of the ordinary or a sentient being who isn’t human! Now that would be an encounter in itself! As I said before about having my life go from mundane to magical, meeting someone like that would be awesome. 

Earlier, I said something about wanting to live in a big house with a lot of unusual characters like ninjas, elves, and a wacky inventor. While something that may never happen to me in real life. In the realm of fiction, however, anything goes. Perhaps I could write a novel about something like that! 

Do you have a favorite poem in your collection?
That’s hard to choose because I love every single one of my poems. If I had to choose which poems were the best write, I would have to choose "Sinking of the Mary Lee" because of its tragic story, "Joker Junction" on account of the hilarious tale behind it, "Sylvester the Firebeard" largely in part of its title character and its events being so life like. (One can feel the heat of the flames and smell the scent of gunpowder!) 

I also enjoyed writing "Tapestries", and "Atop the Bookshelf" (the poem for which the anthology is named for), mainly as they took two seemingly mundane objects and turned them into something worth observing closer. "Sniper", because it depicts a soldier in a battle. "A Man Named Paul", "Judas", and "The Apostle Peter," would have to be listed because they were all in relation to the three men mentioned and their Biblical importance. 

As for "Elizabeth", is a poetic rendition of the Tad Cummins Case. It was one of those poems I knew I had to write because of how the news of that crime affected me. Just as there have been poems and songs written about historical events and people. Which is mainly why I wrote “Orville and Wilbur” as it was about the Wright Brothers’ flight in Kitty Hawk. Lastly, “Aurora Borealis” was written because seeing the polar lights is something on my bucket list.  "A Fan Named Ann" was something I wrote to reflect about a football game where I once provided security. 

Now, the fun poems to write were the haikus and the quatrains. Some were foreboding and others were light hearted and positive. Believe me, those were the best to write! You could see so much in so little words!

I am quite certain there are a number of poems I’ve left out. Time constraints do not allow me the opportunity to explain every poem in Atop the Bookshelf. Yet, I will say that most of my poetry was written because I felt strongly about a topic or something was on my mind.

Now if I had to name one of my poems that had a good premise, yet a poor delivery, would have to be “K’Yakcha”. I wrote it as a means of recapturing the epics of Old akin to “Beowulf” and “The Iliad”. Yet, “K’Yakcha” seems to have missed the mark. Those who read it may say it was reminiscent of those epics, but I just feel it’s not up to par.

Do not get me wrong though, I enjoyed writing “K’Yakcha” because creating a modern day epic was a challenge in itself. However, I feel by its stilted prose, “K’Yakcha” simply doesn’t measure up to the classics. What I will say to my readers is if you are put off by the awkward wording found in “K’Yakcha”, let me just say it helps to think like a translator. Intelligent readers will understand the meaning of my words. 

“Ode to David” was a decent one to write as well. However it is not as good as it should have been. “Oasis”, “Waiting Room”, “A Date with Death”, and various others would also fit in this latter category.  By that, I mean poems that were good ideas, but not the best written. 

Perhaps it is best if I let my readers decide which poems were my best and which poems were my worst.

Can you tell us a bit about your writing process?
I love writing at night. I do not know why, but there is something about its tranquility that appeals to me. The same can be said about writing on a rainy day. Another tactic which helps is listening to music and ambience to help with visualizing a scene or dialogue.  

What was the most challenging aspect of writing poetry?
The most challenging part of poetry is showing the most with the least amount of words. I've had to remove words which felt out of place. Another challenging aspect of poetry is the plot, theme, and subject matter. I've even had to remove poems from "Atop the Bookshelf" because I felt they were not good enough. 

What do you hope readers will gain from reading your anthology?
That would ultimately depend on what my readers desire from my words. Some of my readers are probably seeking entertainment. Others are most likely desiring a deeper meaning. 

How have readers responded to your anthology so far?
Sadly, there have not been many readers. One of the many tragedies of being a writer is not having any readers. More than fame and riches, a writer should be more concerned with gaining readers FIRST and FOREMOST.

In ten years, where would you like your writing career to be?
I would like to have at least some of what I desire to create to be published by this time. Believe me when I say that would be a major advancement in my career.  

As of this interview, I am working on creating my facebook fanpage so fans of my work can congregate and keep up with the latest about my work. 

How do you feel about the increasing popularity of ebooks?
I am divided on the issue of ebooks. For me it is a two-edged sword with its pros and cons. For the pro side of ebooks, they are environmentally sound in reducing the consumption of resources. However, when it comes to the cons, one of the most upsetting attributes of ebooks is how they are reducing the concept of brick and mortar book stores. 

For me, going to a physical location for books and tests is more appealing than computerized ebooks. I say this because of the personal interaction with fellow readers and aspiring authors. 

What do you have in mind for your next writing project?
I cannot further disclose much about what I have in the works. The reason being is I have learned it is best not to announce your plans or goals. It is mainly because if I were to do that, I would be less motivated! For any future projects I have in store, one will have to wait and see!  

Is there anything else you'd like potential readers to know about your anthology?
I choose not to disclose that as I would rather let my readers discover for themselves. To say much more would ruin it for my readers.

More Information
Buy "Atop the Bookshelf" on Lulu.

Ritu Gairola Khanduri, Author of Caricaturing Culture in India

Today we are interviewing Ritu Gairola Khanduri, author of Caricaturing Culture in India.

 Tell us a bit about yourself.
I am a cultural anthropologist and historian. I am fascinated by media and research on print media in its various forms, namely, political cartoons, advertisements and comic books, in the context of India and its diaspora. At the University of Texas-Arlington, where I am an associate professor and teach cultural anthropology, I offer courses on global cultures, theory, visual culture and South Asia. This coming fall I will be offering a new course on Gandhi. I was born and raised in India and have also spent some of my childhood in Sri Lanka. After obtaining my MA and MPhil in History at the Jawaharlal Nehru University, New Delhi, I came to the University of Texas at Austin to pursue my doctoral degree in cultural anthropology.    

Describe your book, Caricaturing Culture in India.
Caricaturing Culture in India is a story of newspaper cartooning in India, beginning from its colonial years, when it was ruled by the British, until the present. My book shows that political cartoons not only reveal competing senses of humor but also serve as a turf for publicly debating how we represent communities and the limits of free speech or lack thereof in the contemporary world. Although India is the focus, the narrative also moves into the world of cartooning in Britain and the US. As the largest democracy in the world noted for its cultural diversity and secular politics, the social life of political cartoons in India is pertinent for understanding modern politics and it provides a fascinating look at the role of media in a global world.  

Who do you think would most appreciate Caricaturing Culture in India?
While scholars and students of history, anthropology, media, political science and art history will find much that would speak directly to their discipline, this book would interest all those intrigued by the conversations about cartoons for thinking about free speech and the freedom of expression. The Charlie Hebdo incident in Paris earlier this year made headlines all over the world and triggered opinions on the ethics of caricatures and norms in journalism. Last week, a “Draw the Prophet” cartoon competition and exhibition in Garland, near Dallas, TX, resulted in a shooting and a flurry of exchanges about rights and wrongs, religion and speech. This discussion needs to move beyond pat answers. Both events tell a story about our present, that is how cartoons have become a litmus test for situating our politics. However, it is important to note that despite cartoons of the Prophet being the common point of controversy, the event in Texas does not mirror the politics of Charlie Hebdo.
 
My book includes a chapter on the Danish cartoon controversy that occurred in 2005. Then too cartoons of the Prophet were at issue. Although one can’t predict events, by taking a close look at the past and the present, my book preempts questions around the growing significance of cartoons in cultural and political debates. With the recent events in Paris and Texas, I hope my book will also interest a broad audience and provide a useful reference for rethinking such murky politics.

Do you think political cartoons have a similar influence universally? Or does the influence of the political cartoon vary culturally?
Political cartoons exist within the context of histories and cultures. This means that political cartoons do not have a universal influence and neither do they resonate uniformly even in the same place and time. The public engaging cartoons is fragmented both before and after the cartoon.

Ritu Gairola Khanduri, author of Caricaturing Culture in India.

What inspired you to write about the history of political cartoons in India? 
Political cartoons are integral to India’s newspaper culture. One day while browsing the Times of India, I came across an anguished reader’s letter to editor complaining about the staff cartoonist, R. K. Laxman’s cartoon on a devastating earthquake. I couldn’t get that letter and cartoon off my mind. This sowed the seeds for a project on interpreting cartoons and to ponder the social life of cartoons. I was also adept at drawing caricatures and cartoons, so a part of my fascination with this subject also grew from a short-lived dream of becoming a cartoonist.

What sources did you consult during your research?
I consulted various archival materials such as newspapers, cartoon folios, magazines, news digests and colonial government files as well as contemporary reports on the media. Additionally, I had conversations with several cartoonists.

Was it difficult to track down information about earlier political cartoons in India?
 Yes. The material I tracked was not consolidated in one archive and library—it had to be constructed through small steps that took me to various cities in three continents: New Delhi, Lucknow, Mumbai, London, Canterbury, and DC. A good chunk of this story of cartooning is a result of my conversations with senior cartoonists who began their career in the 1940s when India was at the cusp of independence from British rule. Those meetings too involved travel to different places in India.

What are some of the more surprising things you uncovered while doing research on political cartoons in India? 
There were surprises at every stage of the research for my book. I was excited to learn of a rich culture of “comic papers” in late-nineteenth-early twentieth century colonial India—weekly newspapers and publications replete with cartoons in Urdu, Gujarati, Hindi and other languages. Mahatma Gandhi’s analysis of cartoons in the 1900s, when he was in South Africa, made me realize that they were a part of his discussion of non-violent politics. Closer to our own times, I was surprised to observe that we have few women cartoonists. Most importantly, it was eye-opening to learn of the numerous interpretive debates cartoons provoked.

Has the role of the political cartoon changed as a function of changing technologies?
Cartoons have crossed borders before social media and the Internet. Political cartoons from Indian newspapers such as the Anglo-Gujarati Hindi Punch, which began publication in 1854, were published in British news digest Review of Reviews. Closer to our own times, the New York Times frequently published cartoons by India’s leading practitioners, such as Shankar, Kutty, R. K. Laxman, Bireshwar and Samuel, among others. This border crossing meant that the cartoon’s reach exceeded the cartoonist’s intuitive public. With Twitter and Facebook, it is more pronounced today and is definitely in the cartoonist’s radar. I don’t think we should be too quick to surmise that this rapid circulation, retweeting and sharing political cartoons endangers it or curbs the cartoonist’s creativity. Instead, the cartoon’s social life reveals how power is evoked, subverted and asserted.

Since cartoons position every one as critics, who can evaluate (unlike Art, which has designated critics performing that gatekeeping role), fret and celebrate, it opens up the space for deliberation and allows spilling over from social media to other public spaces, online to offline, and vice versa. It has consequences for everyone. We all get politicized. I am mindful that those who engage in social media are a fraction of the world. To give you an example of the cartoon’s generative capacity. A couple of years ago a professor from West Bengal, India, was incarcerated for a day on charges of defamation. His crime was that he shared a cartoon of the Chief Minister Mamata Bannerjee on Facebook. The professor did not make the cartoon. So this is an interesting case of the cartoon’s impact; its circulation, and not the cartoon, was perceived as a threat and punishable by those in power. When we realize such threats are felt in a democracy and necessitate penal action, it gives pause. Of course, examples of cartoons as threats or as demeaning communities occur in the US too and there are numerous complaints against “offensive" cartoons. 

Why is it important to understand the influence of political cartoons? What are some of the conclusions you arrived at through your research?
Political cartoons, which tend to be published in newspapers and magazines, are ephemeral. This ephemerality, the prolific production cartoons in daily and serial publications, and the fact that this graphic satire is not celebrated as a “fine art,” tends to give the impression that cartoons are a trivial cultural production. They are not. Cartoonists are highly accomplished individuals, several I interviewed were art school graduates and saw their work as a form of political analysis. The diurnal, graphic and public form of cartoons brings immediacy to the politics around us. It works at a sensory level. All this makes cartoons significant.

Is there anything else you'd like potential readers to know about your book?
Several cartoonists shared their stories with me and navigated my attention as I traveled to archives and explored all sorts of print materials. As a cultural anthropologist, this engagement, “cartoon talk”—what readers make of the cartoons—and the social life of a cartoon, is at the core of my book.

The paperback edition of my book was recently approved by Cambridge University Press and will be available soon. Readers are also welcome to correspond with me through my FB author page: https://www.facebook.com/ritugairolakhanduri.

More Information
http://www.pri.org/stories/2014-12-31/cartoon-character-chronicles-indias-first-60-years-independence
https://www.facebook.com/ritugairolakhanduri
https://twitter.com/ritu_gairola 
http://www.cambridgeblog.org/2015/01/caricaturing-liberalism-and-the-politics-of-laughter
http://www.amazon.com/Caricaturing-Culture-India-Cartoons-History/dp/1107043328

John Hazen, Author of Journey of an American Son

Today we are interviewing John Hazen, author of the historical suspense novel Journey of an American Son.

Tell us a bit about yourself.
I came to writing novels relatively late in life. It was always one of those things I wanted to do but “never had time for”. Well, once I started I haven’t looked back as Journey of an American Son is my third published novel and I’m putting the finishing touches on my fourth. I have degrees from Rutgers, The New School and NYU that buttress a lifelong passion for learning and a love of history (all of my novels have a historical component to them). My wife, Lynn, and I will be celebrating our 35th anniversary this June. We live in New Jersey and I’ve worked for the State of New Jersey for thirty years. We love to travel, and the experiences of those travels often find their way into my writing. My reading tastes are eclectic, ranging from histories to classic novels to an occasional piece of modern trash. My absolute “must reads” are Harper Lee’s To Kill a Mockingbird, J.K. Rowling’s Harry Potter series and Doris Kearns Goodwin’s No Ordinary Time.

Describe the plot of your book, “Journey of an American Son,” in a few sentences.
In 1920, Benjamin Albert, who had been sent on a business trip to India, is framed for murder and thrown in a Calcutta jail after he asks to many questions about his company’s operations there. Abandoned by his own government, his wife, Catherine, takes matters into her own hands and battles a ruthless and unscrupulous corporation abetted by a corrupt colonial government to prove his innocence and free him. Spanning the globe in an era of great change, Journey of An American Son takes readers from the Jewish ghettos of 19th Century Eastern Europe through American immigrant-clogged streets, the trenches of war-torn France, the geisha halls of Japan and the grimy backstreets of Calcutta. 

Who do you think would most appreciate this book?
This book will appeal to history buffs, to fans of suspense and to those who simply love a good story.

What inspired you to write a book about a man framed for murder and his case complicated by prejudice?
The original inspiration for this book came from a diary my grandfather kept on a trip he made from Boston to Calcutta in 1920. Of course, his trip was a lot more mundane than what’s presented in this book, although he did encounter lepers, geisha girls, British army officers and silent film starlets. Anyway, I decided this trip made a great backdrop upon which I could build a story. I always try for my books to have a broader message beyond just the story and, being aware of the conditions at the time both in America and in India, it seemed to come together that there were abuses and arrogance on the part of corporations and governments that would silence a man who asks too many questions. Add to this the fact that the man is Jewish who is asking questions about the treatment of dark-skinned Indians, it seemed to be an explosive combination.
 
Tell us about the protagonists, Benjamin and Catherine.
Benjamin is a composite of a number of people I’ve known or heard about over the years. He’s part my father, part my father-in-law, part my grandfather. He is, in a word, brilliant. He’s very matter-of-fact but also self-assured about his brilliance. He’s a non-observant Jew but he’s keenly aware that he is Jewish and that is how the world views him. Despite he himself being the subject of prejudice, he is prejudiced against “coloreds”, as he calls him. It isn’t until he makes this trip that he has a sort of epiphany on the subject, which in turn proves to be his downfall.

Catherine came entirely from my imagination. I’ve been told that a key ingredient of my writing is that I write about strong women. She is perhaps one of the most complex characters I’ve ever written. On the one hand, she’s a modern woman, being college-educated at a time when many women were not. On the other, she’s old-fashioned being content to be an at-home mother once her son, Harry, is born. She is not Jewish but is willing to face the stigma of the time of marrying outside her faith. When she hears about her husband’s conviction and incarceration 8,000 miles away, she nearly loses all hope but is soon able to draw on an inner strength she didn’t even know she had and she takes on seemingly invincible forces.

How did you capture 1920s India?
As I mentioned, the main source I used was the diary my grandfather kept on his trip there. My grandfather was a research chemist and, like a good scientist, he was extremely meticulous in his recordings. I’ve also done a fair amount of reading on the time and place to give me the feel.

Is there an author who influenced your writing style?
I can’t specifically cite one author over another as an influence. As I mentioned, my tastes are eclectic. Generally, I know what I like when I see it but often I can’t make a definitive statement as to what component of that author’s style that I like.

What do you have in mind for your next project?
I have several things in the works. I’m actually reworking the first novel I ever wrote but had never released, hoping to get that ready for publication. I’m also working on a sequel to my book, Fava. It’s the only book of mine that readily lends itself to a follow-up book. I’m also attempting to turn a couple of my books into screenplays. I’ve been told that my books would make good movies and I have a friend in the industry so I figured I’d give it a whirl.

Is there anything else you'd like potential readers to know about your book?
Just that I’m confident they’ll like Journey of an American Son and hopefully they’ll walk away with something meaningful after reading it. One person who read it said that my motto should be: You’ll laugh, you’ll cry, you’ll think. I like it!

An excerpt from Journey of an American Son: 

I first met Ben in the spring of 1916. Our initial encounter could have been disastrous. I worked at the Rutgers College library. It wasn’t that I needed the money. My mother demanded that I work part-time to build my character. I’m still debating whether that worked or not. She was a close friend of Mabel Smith Douglass, who was leading the drive to open Rutgers to female students. Mother wanted me poised to enroll the minute that happened. She figured that physically working at the university gave me an advantage. She also paid for an apartment in the middle of New Brunswick for two of my friends and me. I felt quite the independent young lady.

Anyway, it was a Saturday afternoon on a beautiful day in late May. The library was practically deserted. I was wheeling a cart full of books I had to return to their shelves in the biology section. I turned a corner and saw him sitting alone at a table, surrounded by his notes and a number of volumes.

He didn’t see me at first. He was studying very intently, but he wasn’t staring at his books. He was concentrating on a dollar bill he held in his hand. I was fascinated by his catatonic state as he gazed at this bill. I found him to be quite handsome, too, with his chestnut colored wavy hair and penetrating dark brown eyes. He was dressed in what could best be called workman clothes, a blue denim shirt, black somewhat worn but still serviceable slacks and rubber-soled light brown shoes. He certainly was not the typical college student I ran into every day. I decided to walk over and speak to him.

“So, is that the first dollar you ever earned?” I airily asked as an icebreaker.

My voice startled him as he sat upright from his slouched position. I could tell he was weighing his answer. He later told me that he actually mulled over the possible responses he could make to this question. He was in a foul mood and his initial inclination was to say: “Just because I’m Jewish doesn’t make me a miser!” But when he looked up from his seat in the library and saw (his words) the most beautiful hazel eyes he’d ever seen in his life, he quickly reconsidered. I had no idea at the time (nor did I really care) that he was Jewish and he made a wise choice in not responding in the way his original instincts guided him. I probably would have turned and stormed away, never speaking to him again.

Still, though, it wasn’t in his nature to make a breezy, witty retort. Instead he said:
“No, actually it’s the last dollar my father earned before he died.”

I stood there a few seconds, uncomfortable and dumbfounded.

“I…I’m so sorry.”

I turned to walk away as he called after me.

“No, wait. I’m the one who should apologize for my rudeness. Please, won’t you sit down? I could use the company.”

I slowly lowered myself into a seat across the table from him, but I still didn’t know what to say after that.

Ben couldn’t keep his eyes off of me. I have to admit I was rather a stunner back then. He said he especially loved the dimple that appeared in my left cheek when I smiled. I was hoping he’d be determined to do whatever it took to keep me smiling for a long time.

“My name’s Ben Albert.”

“I’m Catherine Jackson. It’s a pleasure to meet you.”

“Pleasure’s mine, Catherine.”

There was silence for a few moments more until I asked the question most on my mind.
“Is that really the last dollar your father earned?”

“Yes, one of them. He got sick when I was three years old. I never did get a straight answer what he had but from what I could gather I always suspected it was cancer. The doctor told him it would be best for his health to go to a warm climate for a while. He traveled to North Carolina, worked two days in the tobacco fields down there and then died that night. He made all of five dollars for his efforts. Each of his four children got a dollar as a remembrance. My mother has the other.

“My sister, Bessie, spent hers within a week. As far as I know, the rest of us still have ours. I carry mine with me all the time. Occasionally, when things are going tough I’ll pull mine out and look at it. It puts things in perspective for me when I think of what he had to go through, immigrating to America with only about twenty words of English in his vocabulary, living in the tenements of New York before settling in New Brunswick to raise his family and build a new life. Then cancer cut him down before he could really get going. Looking at the dollar reminds me of my obligations and responsibilities.

That’s why you find me here in the library on a gorgeous Saturday.”

“You said your father died when you were three? Do you have any memories of him?”

“Only very vague ones. As time goes on, I’m less and less sure which are real and which I’ve invented from the stories I’ve heard about him over the years. My mother’s still going strong, though. I live at home with her. What about you?”

“Well, I live in an apartment with a couple of friends not too far from here on Church Street. I know it’s very scandalous, three un-chaperoned females living on their own in the city. It was my mother’s idea actually. She lives up in Westfield and she could not see me traveling every day back and forth. Besides, she wants me to be independent. Like she is. My earliest memories revolve around accompanying her to suffrage meetings. Hopefully, you’re not one of those who wish to keep women from voting, are you?”

“No, not at all. Women can’t do any worse at choosing leaders than men. You mentioned your mother. Is your father dead?”

“No, they divorced when I was young. He lives up in Boston. He’s been very generous financially to my mother and me, but he’s never wanted much to do with my life. It’s okay, though.”

The look on his face showed that it wasn’t okay. He changed the subject.

 “So, what’s a nice girl like you doing in a place like this on a gorgeous Saturday afternoon? Shouldn’t you be getting ready for a date or something?”

“Well, I work here. I have to work until 6:00, or at least be here until 6:00. I don’t think my supervisor would exactly classify what I’m doing now as ‘working’ but she’s nice. And no, no date. No nothing tonight, I’m afraid.”

“I refuse to believe that a beautiful woman such as yourself does not have a line of men waiting at your doorstep on the off chance you’ll honor them with your attention.”

I laughed, but was very taken by the compliment.

“I’m sorry to disappoint.”

“Well, as it so happens I find myself similarly unoccupied and uncommitted for this evening. Would you like to grab a bite, perhaps at Timothy’s Pub, when you get off? Unless of course you don’t want to be seen with a man who still lives with his mother.”

“Well, when you put it that way, it does seem a lot less desirable.”

He smiled back but then just as quickly got serious again.

“Or unless you’d feel funny about going out with a Jew.”

 “No, that doesn’t bother me in the least.”

“I’m glad to hear that. I like to be upfront to see where I stand. So, can I pick you up at your place around 7:30?”

More Information 
Buy the book on Amazon
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Marica Love, Author of Married to the War

Today we are interviewing Marica Love, author of Married to the War.

Tell us a bit about yourself.
Marica Love’s passion for humanity, music, creativity, and living an abundant life is rivaled only by her love of children; motherhood is the root of her greatest successes.

Born and raised in Australia, Marica is the eldest of four siblings. She moved to Europe at the age of eighteen and stayed until the end of the Croatian War of Independence in 1995. Marica’s personal journey is candidly chronicled in her new book, Married to the War, the first in a series.

Once hailed by a newspaper photographer as “Nice, friendly, flamboyant and savvy”, Marica embraces those accolades and flourishes in every role she undertakes. She was the station manager, a member of the board of directors, on on-air presenter and program manager with WOWfm 100.7 for five years and was the producer of her television show ‘Unsigned & Inspiring’ on CH31 in Sydney. Music serves as an endless source of motivation and inspiration to her. As the owner of The Cake Pop Emporium Pty Ltd in 2013, she had the honour of serving political dignitaries, the Former Prime Minister Julia Gillard and MP David Bradbury in her store.

Marica is not influenced by other’s opinions and expectations. When the calling came to start over in life again, she embraced the opportunity. She is guided from within and will continue to bring her ideas to life with the influence of God and her Angels. A strong will, tenacity and compassion are virtues which enabled her to begin again and she is thriving.

She currently lives in Sydney with her beloved pup, Ellie Mae. When not writing or furthering her skills, Marica enjoys hanging out with her adult children, traveling, the beach, cooking, movies and pampering sessions.

While she continuously grows as an individual, passing on the gift of creativity and self-discovery is important to her.

Please visit her Facebook Fan Page – ‘Marica Love’ for news and updates.
 
Describe the purpose of your book in a few sentences.
Following my soul’s calling to write about my life’s journey.  My book is about my personal experiences in a war zone, like everyday living for five years.  Going from a free country Australia to a war torn country, former Yugoslavia to be with the one I love at the age of 18.  It is about one’s strength, endurance, spiritual growth, learning, survival and more.

Who do you think would most appreciate this book?
Because I wrote it from my heart and soul.  My book is long awaited and it is a piece of history.

What inspired you to write down your five-year journey through the Croatian War of Independence?
My children, my 23 year old son and my 18 year old daughter were my main inspiration and drive.  There were a lot of other individuals along the way too.  I love writers and successful artists who followed their inner calling and passion.  I look up to them. 

What was it like revisiting those memories from the war?
It was a huge emotional rollercoaster.  I would close my eyes, put my headphones in and go back in time with my mind eyes while I listen to the music I feel at the time.  I cried a lot, had scary moments, some fun moments, but a lot of lonely times.  It was therapeutic in a way.
 
How do you think reading your book will impact people?
Hopefully, people will say no to war and spread love.  I think people will find it interesting and unique.  I am looking forward to hearing from my readers!

What do you have in mind for your next writing project?
I am writing my sequel, ‘married to the war, memories’ and the aftermath. I have already been asked when they are being released by readers who have enjoyed my first book. I am finishing my two cookbooks called ‘my recipes from Croatia’ one are cakes and the other are meals. I will be publishing 13 books in total over the next few years. Its my lucky number.

Is there anything else you'd like potential readers to know about your book?
Yes, there was one morning when it started bombarding and I sat my son on my lap as I listened to the civil defense sirens sound off.  I looked at my son and said, ‘one day we are going to write a book about this war and tell everyone what we are going through.’  Well, that time is now, my book is born.  Words are powerful, believe in your dreams and yourself.  I believed we would survive and we did.

10% of my book sales will go toward animal charities my son and daughter choose.

Thank you
Love and light with many blessings I wish you, marica love.

More Information
http://www.lulu.com/shop/marica-love/married-to-the-war/paperback/product-22089958.html
 
http://www.lulu.com/shop/marica-love/married-to-the-war/ebook/product-22093067.html
 
https://www.createspace.com/5316200
 
twitter.com/maricasworld

https://www.facebook.com/pages/Marica-Love-Authorpreneur/412850402089809