#Authorinterview with Alden Windrow
Today, Feathered Quill reviewer Katie Specht is talking with Alden Windrow, author of The Canceled Life of Zander Wolbach.
FQ: Tell our readers a little about yourself. Your background, your interests, and how this led to writing a book?
WINDROW: I grew up in Norfolk, Virginia, and hold both a Bachelor’s and a Master’s in English Literature. I've always been passionate about music and songwriting—I have recorded three albums and an EP under my birth name, and another album under a different moniker. Unfortunately, music never became a sustainable career, and over time, I found myself unable to record at home the way I once could. That's when I decided to channel my creativity into writing a fictionalized book illustrating the difficulties of being a DIY home recording artist.
FQ: Have you always enjoyed writing or is it something you’ve discovered recently?
WINDROW: I have always enjoyed writing. I had an English professor in college who influenced me to become an English major. As an undergrad, I learned how to write faster since we had to complete papers in class and submit them the same day. In grad school, I wrote academic papers more thoughtfully because I had more time to absorb the reading material.
For creative writing, I took a couple of courses as an undergrad, which helped me build a foundation in short story writing. I struggled with my first attempts at writing fiction, but by the second writing class, the process began to make more sense, and my professor noticed my fiction writing had improved to the point where I thought I could apply for an MFA. I ended up getting an MA in English Literature instead, but along the way, I took a creative writing class in poetry, which is another form of writing I thoroughly enjoy. I've written many lyrics for songs, but lately, I've been writing more spoken word/poems for YouTube, accompanied by music and visuals.
Unfortunately, once I finished grad school, I stopped writing fiction altogether; there didn't seem to be any point to it, nor were there the opportunities for self-publishing we have today. My creative life had to reach a point of crisis for me to become willing to write again twenty-five years later.
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Author Alden Windrow |
FQ: Tell us a little about your book – a brief synopsis and what makes your book unique.WINDROW: The Canceled Life of Zander Wolbach is a work of literary autofiction that serves as an in-depth character study of its protagonist, Zander, beginning at age twenty-five and spanning nearly twenty-five years of his life. The word “canceled” in the title plays off the idea of “cancel culture,” but takes it beyond the social media definition—Zander’s life is frustrated by endless canceled opportunities and setbacks as he struggles to survive within an inhumane economic system. With relatively short chapters, each one can almost be read as a self-contained short story, but together, they highlight Zander's ongoing struggles and disillusionments.
Set in the fictional city of Folksport, the novel follows Zander as he navigates a series of low-paying jobs he feels disconnected from while also pursuing songwriting and recording as an unpaid side hustle. Over time, the story reveals the depths of Zander's social anxiety and depression, as well as his need for a more meaningful existence, which eventually becomes his focus, leading him to an exploration of Buddhist spirituality in the latter half of the book.
The uniqueness of this book lies in its blend of hyperreality with fiction. I wanted readers to know what it really felt like to be Zander by the time they finished reading the book. I would also add that this is a once-in-a-lifetime book for me; while I may write other books, this one can never be replicated.
FQ: Do you have any plans to try writing a book in a different genre? If so, which genre and why?
WINDROW: Yes! There will continue to be elements of autofiction in future novels, but not nearly as much going forward. The second novel I've started working on could be classified as a dystopian sci-fi comedy. I'm drawn to satirical novels such as Catch-22 and dystopian novels like 1984. I fear our society is losing its ability to appreciate satire, and so I would like to attempt to write something that mirrors our society, critiquing it in a way that is relevant today. It's a real challenge to write this way because it relies so much on the reader’s sense of humor, which I'm also afraid may be slipping away due to society becoming a satire of itself. I realized with my first novel that my sense of humor seemed to be coming through naturally, so I'm planning to lean even more into that for my next novel and will have to trust that readers will see the humor in it. Publishing a second novel would feel like a small victory—it might serve as a kind of redemption for readers who found the ending of the first one too dark.
FQ: Did your family & friends encourage you to write your book?
WINDROW: The only person who ever asked me if I ever thought about writing a book was my mom. But at the time, I just assumed no one would be interested in reading anything I wrote—and I had no idea what to write about. I went through a similar experience to Zander: being rejected by the MFA program and having my work thrown in the trash despite having success in my creative writing classes. That didn't do much for my self-confidence as a writer. My friends are aware of my educational background, but aren't particularly serious readers, so I never received much encouragement from them. They are somewhat surprised I've gone in this direction since they know me better as a songwriter and musician. One of them told me they could never write a book, and I had a similar mindset until I had a clear vision of what I wanted to write about. Life, more than anything else, pushed me to write a book.
FQ: Was the plot worked out completely before you started or did it evolve as your wrote?
WINDROW: Yes, I did have an entire idea of the book’s plot, although it’s not as fluid as most conventional novels, but more like a series of connected short stories. At this point, I don't consider myself someone who writes spontaneously with no idea of where I'm going with the story (a "pantser") but someone who needs to have a clear idea of what is going to happen in the story. I had everything outlined beforehand, and for now, I plan to keep using that method going forward.
FQ: Tell us about the protagonist in your story.
WINDROW: Zander is what you might call a functional melancholic. He's gifted in music and other arts, but can't find his place in the world. He's not great with relationships either, but many of Zander’s internalized struggles are beyond himself in ways that he’s not aware of. He's in a punishing system that doesn't reward creativity or originality, but one that exploits people like himself who are misfits, a square peg forced into round holes. He's an idealist and has expectations of the world that are frequently thwarted, such as his belief that the music industry will recognize talent when it hears it. He's a frustrated follower of the American Dream until he realizes it no longer exists. His own crumbling interior mirrors that of the landscape around him, a place of no real economic opportunity for those with the audacity to follow their dreams and passions, which has devastating consequences. He wants to play his own game but is punished for doing so. He's a victim of constant layoffs. In short, he experiences the dark side of capitalism, the side that hides in the shadows.
FQ: The “bad guy/gal” in your book … was he/she fun to create and how difficult was it to write those scenes where he/she plays a central role?
WINDROW: There are a couple of "bad bosses" Zander encounters during his employment at various workplaces. I'd say yes, they are fun to create and not difficult to write. Garrett is the first real bad boss Zander runs into. He's technically a supervisor, but he still positions himself like a boss who is constantly annoyed by Zander approaching him for work, putting Zander in an unenviable position. I wanted to include these types of characters to show how belittling they are toward Zander, emphasizing his struggles with the uninspiring everyday worklife. Garrett can't understand someone like Zander or appreciate who he is; he just sees him as a pawn fit for meaningless tasks. He has no compassion for Zander or his situation.
The other bad boss, Cole, evolved in my mind as I wrote his character—how he dresses and walks around mumble-rapping, for example. I didn't see him that way initially, but I began to really picture him as someone who takes his insecurities out on others, including the people he supervises. He's younger than Zander and has a kind of arrogance Zander finds appalling. On a physical level, he resorts to fighting to hide his insecurities and will often pick fights when he sees an opportunity. I wanted to expose characters like these because they're not unlikely to show up in real life, and their behavior deserves to be ridiculed. Fiction is the one place I can do this safely, but in the real world, characters like this often get away with their abhorrent behavior without consequence, making office workplaces real hellholes for the people who have to work in them.
FQ: Tell us about your favorite character and why that person is your favorite.
WINDROW: Zander is my favorite character, of course, since the novel is about him, but my second favorite would be Lou. Lou is a former monk and a wise, experienced meditator who helps society by opening his home as a place of spiritual practice. Having him in the novel helped weave in what had been happening in my life on a spiritual level since I had been learning and practicing Buddhism for over a decade by the time I wrote this book.
Lou is able to speak to—and sometimes challenge—Zander's perspective while giving him guidance in his meditation practice. Their conversations help formulate where Zander sees himself heading toward the end of the novel. Their final conversation underscores the despair Zander feels when he decides to move from Folksport.
Lou asserts the novel's underlying message in his final speech. While he is disheartened, he doesn't view Zander's life as a personal failure, but the result of a society in decline, one that doesn't seem to share the same values as someone like Zander. Lou is almost as harsh a critic of society as Zander and serves as the only voice left still speaking for him at the end, refusing to let a capitalistic society off the hook for its casualties.
FQ: What made you/Why did you decide to write this book? Did you see a need?
WINDROW: I'm in the camp that says literature should not just be an escape for entertainment purposes. During my education, it was drilled into me that we don’t study or write literature for no good reason, and I still believe that. I'm not against entertainment, but I think what I would want to do is write something meaningful and engaging at the same time.
Zander's world is a microcosm of what is happening to America on a larger scale. I see America as an illusion of a dream rather than a united country where anyone can realize their highest aspirations. We're seeing more people wanting to leave America who are alienated from the tribalized political climate, while also being disillusioned with our political leaders. For someone like me, and for the average American, there’s little real power or leverage in this society beyond trying to express oneself artistically. I feel for the younger generations facing limited economic opportunity to build a good life—housing is no longer affordable, job stability is no longer guaranteed, and the looming development of AI threatens to wipe out creative and professional work.
As a member of Gen X, I was among the first generation to realize that many of us wouldn’t have as good a quality of life as our parents did. That's exactly what Zander experiences in the book, and it's becoming increasingly obvious that for people like Zander, their struggles are not personal failures, but rather the result of trying to live in a broken system. Everything that happens in the novel culminates in his total alienation—an inhumane society he no longer feels is worth living in.