Book Betrayal?

I came back from my first-ever SIBA (the Southern Independent Booksellers’ Alliance) conference with a box of some 100 books thrust at me by reps, readers, and some people I think had just crashed the hotel. I triaged these into “not my thing,” “not normally my thing, but let’s try” and “Oh boy!” piles on the long shelf beside my bed.

They made a satisfying bulwark against boredom, and I congratulated myself that, at two books a week average, I’d be reading through them well past Christmas. Of course they got mixed in with new books authors sent for our stocking consideration (we’re getting about one a week now) and the piles got bigger. But then a funny thing happened.

My expectations changed. I found myself reading, not for the satisfaction of the stories, but to determine if I liked the author’s methods. I was reading…. oh dear God in heaven, help me…. only to see if I wanted to sell them.

Sure, I like cozy tales about inherited wedding dresses and chasing down the stories of the brides’ lives from 1902 to 2012. But that’s kind of a trite idea, so it has to be done with really compelling writing. A steampunk send-up of Jane Eyre? Yes, please–so refreshing to fracture a famous tale without using vamps or zombies. I could tell customers about that one with enthusiasm.

That bedside wall of books that was going to take me cozily under covers through the Holidays dwindled faster than the plot line of a Cornwall thriller, as I assessed, summarized, speed-read for basic action ideas, and otherwise treated these books like commodities.

And went through them at a rate of two per night. No slow savoring, no “catch me with your phrasing, reel me in with your descriptions, still me with your elegant prose.” Just, “Yeah, got it. Next.”

Selling used books is a different world than new. Apparently I had slipped unaware through the portal. In the freewheeling, forgiving world of second-hand, not every book pulls its own weight. And eventually, even the oddest books find people who want to love them. It’s more like an adoption service, a recycling center, a retirement home. Communal, not capitalistic.

Now I was doing cold hard “yep, this’ll sell, this won’t” separations of the sheep from the goats.

But . . . I like goats. . . .

Maybe we’re not ready to be new-book retailers, God Bless and Keep Them. I don’t mean what they do is in any way less than what we do, just different, vastly different.

We like our cozy little slow-life retirement and recycling center. And–let’s face it–eventually those hot new commodities are going to land on our shores anyway. So maybe we’ll just wait here in the rockers. . . .

 

Country Cousins: 3 Books About Rural Living

Today’s blog is Wendy’s essay up on NPR Books. You can see it on the NPR page at the link below.

http://www.npr.org/2012/12/12/166479169/country-cousins-3-books-about-rural-living

December 12, 2012 7:00 AM

As a small-town girl, I love depictions of rural living when they’ve got a little style and sass in their makeup. Replete with enough quirks and quaintness to choke a mule, small towns are timelessly fertile ground for writers. But the best authors ignore — or even play with — stereotypes to tell truly compelling stories.

Cold Comfort Farm

Cold Comfort Farm

by Stella Gibbons

Paperback, 233 pages

Stella Gibbons has plenty of sass. She was writing in the 1930s, when the “local color” movement glossed all things rural with sentiment, and farms were described without even a whiff of manure. Her comic novel Cold Comfort Farm stuck a pin in the balloon of idyllic country living. Featuring the Starkadder family, the cast includes oversexed farmhands Seth and Reuben, crazy Great Aunt Ada in the attic, and their sensible city-dweller cousin Flora Poste, who is capable of “every art and grace save that of earning her own living.” In one of the loveliest meta-storytelling devices ever, Gibbons marks her best passages with one or two asterisks, for the reader’s enhanced enjoyment. This book makes me laugh out loud every time I read it, which is at least once a year.

Homestead

Homestead

by Rosina Lippi

Paperback, 210 pages

Fewer laughs and more tears come from Rosina Lippi’s Homestead. A series of linked stories, it chronicles six generations of women in an Austrian mountain village, starting about 1909. Her characters are drawn with casual grace, and her understated writing is insightful and beautiful. In one tale she describes the interaction between a man and a woman negotiating sexual politics, as “Francesco had feared to ask too much of her, and saw, too late, that he had asked too little.” Quiet stories, and gentle ones, they depict the inner longings and outer strength of mountain women everywhere.

Lest Innocent Blood Be Shed

Lest Innocent Blood Be Shed: The Story of the Village of Le Chambon and How Goodness Happened There

by Philip P. Hallie

Paperback, 303 pages

Through the influence of the charismatic pastoral couple Andre and Magda Trocme, the isolated village of Le Chambon became a “city of refuge” for Jewish people in Vichy France. Philip Hallie tells the story in academic language peppered with anecdotes and first-person interviews. Any small town has rivalries and factions, and these played into simultaneously creating sanctuary while dooming some rescuers. Le Chambon is part of that era’s larger story: the daily interactions of one small town set against the backdrop of hell come to earth.

These three writers reached into the enclaves of mountain villages, subsistence farms and human hearts — and gave us funny, sweet, sorrowful insights into small-town lives lived large.

Wendy Welch is the author of The Little Bookstore of Big Stone Gap.

Three Books…is produced and edited by Ellen Silva and Rosie Friedman with production assistance from Annalisa Quinn.