#BookReview - The Metric Clock

The Metric Clock: The Adventures of Charles, Transforming a Precocious Boy into a Young Man

By: Phillip B. Chute
Publication Date: December 2018
ISBN: 978-1-7328855-0-9
Reviewed by: Amy Lignor
Review Date: October 2020

Subtitled, “The Adventures of Charles, Transforming a Precocious Boy into a Young Man,” this amazing book is truly one no reader will ever forget. Now, yes, those who read reviewers know I am a sucker for YA/Teen books. Why? Because, quite frankly, for the past two decades this category has produced some of the finest authors and coolest reads “gifted” to people who love fantasy, adventure, and being able to get away from the “mess” and chaos that the world has to offer. This book is no exception.

Here, we head to New England (my own home turf as a youth) in the year 1946 – a time when everyone was recovering from a much different time of chaos that WWII brought down upon the world. Charles is the boy we meet and get to know well during this tale. He is nine years old and, let us just say, has that problem many of us had when it comes to trying to fit in with our peers. It’s not easy for Charles. And when it comes to family, his father is away so much for work that the young boy doesn’t have that mentor figure to help him out. The upside for Charles is Mary Anne, who happens to be his best friend. Mary is the “ear” that listens to Charlie’s hopes, fears, daydreams, etc.

The time comes when Charles is given an opportunity of sorts. His father is headed out on yet another trip, but Charles is going to come along. They head to Canada – his father’s hometown – in a rural area where he will spend time on the family farm. But Charles is not only going to have his eyes opened a bit, he’s also going to come away from the experience with a greater understanding of his own father. Learning about how his dad had to deal with being raised during The Great Depression, his respect for his father grows with the newfound knowledge.

One day, an adventure comes along for Charles when he and his cousin head out for the day to explore. Looking forward to having fun, the day turns more than a bit dark when an element of danger crops up that forces Charles to use his knowledge and his huge heart, not to mention the strength that lives inside him passed down from his father, in order to get out of a mess.

This book explores trying times, the aches and pains of growing up and fitting in, the ability to learn and understand others who you feel may have disappointed you—only to learn that they have actually battled and struggled through their own life and have their own secrets they wish not to reveal.

Mary Anne is an awesome friend and everyone should have one; she instills confidence in Charles and helps him through tough times. This is a truly beautiful “presentation,” so to speak, of a boy’s younger days that readers of all ages will relate to. Yet again, YA/Teen reads hits it out of the ballpark.

Quill says: An emotional tale perfectly balanced with adventure.

For more information on The Metric Clock, please visit the author's website at: www.phillipbchute.com

 

#AuthorInterview - Jean Reed

Today, Feathered Quill reviewer Holly Connors is talking with Roberta Reed Hamilton, daughter of Jean Reed, who is the author of Five Funny Tummy Men.

FQ: Would you tell our readers a bit about your mother’s writing career?

HAMILTON: My mother, Jean Reed and father were married in the late 1930’s. He was a lover of country living, so off they went to start life in an 80-year old farmhouse, four miles from the nearest town and one-half mile from any neighbor. As an isolated housewife and then a mother, she found gardening and going to her typewriter topped her list of stimulating ways to spend the day.

During this period she submitted articles to Redbook on housewife/hostess issues such as “How to Remember the Relishes.” She won numerous 25 or less word contests; one such prize was a ‘trip for ONE’ to Great Britain, which she declined. She wrote copy for Rochester, New York radio commercials. During the 1950’s, my parents changed directions and opened a Resume Service in Rochester and it was then that Jean wrote Resumes That Get Jobs, published by Arco and printed through eight updated editions.

Following the death of my father, she moved to Sarasota, Florida and worked for an ABC television station writing copy, running the camera and was traffic manager. A local weekly newspaper, The Pelican Press, was a career target for her and Jean became a features writer as well as being their theatre critic. Newspaper writing awards became a yearly occurrence for her. She was a prolific writer and was known for her “fair critiques” wherein she did not destroy the performer but gave suggestions for improvement if needed. She learned from Variety critics and became a stringer for Variety in Sarasota. She continued in both capacities, writing until her death at 88 years of age. While in the hospital, shortly before her death, she said to her daughter, “I will probably lose my job over this.” Her editor assured her this would not be the case.

FQ: Did your mother read to you every night when you were young? Was she fond of making up stories? Would you share a favorite memory of reading with your mother?

HAMILTON: As a child, I was encouraged to do the reading and read out loud to my parents or any unsuspecting guest that might have arrived. I was also beckoned to listen to children’s radio programs and to try to describe how the characters might look. Part of my annual birthday party festivities involved my friends and me creating characters and making up plays. She was our best audience and we ALWAYS received a good critique.

The sound of the Underwood typewriter was an everyday occurrence. I couldn’t wait to learn how to type as she would laugh and entertain herself with her creative sense of comedic writing. Her letters to everyone were always filled with embellishments of life in the country and are discussed to this day by recipients.

Our Victrola record player twirled as many children’s records as adult ones. Uncle Remus, The Whale That Wanted To Sing At the Metand others would be played at least once a week. We would read together the entire information on the record jackets about who was performing, the story behind the performance, the year of the recording and the like. I remember this time fondly as it gave me interest in the story as well as the theatrical aspect.

FQ: Five Funny Tummy Men is a unique book. Do you know how your mother came up with the idea?

HAMILTON: I really don’t know how it was conceived. My parents and friends would play tennis and spend time together afterwards. The original illustrator, Clyde Seymour was one of these friends. He and his wife were local educators and he was always ‘doodleing’ images of funny characters that they would recreate in the classroom. He came up with the original Tummy Men visuals and I would suspect this was the ‘moment’ the story was born. The visuals have been updated by Jason Fowler, an art teacher from Georgia.

Of course, eating habits are crucial to good health as is exercise. So the lessons learned in this book certainly give the reader the connection between the two. This is a creative way for a mother or caregiver to get the lesson across to a child.

FQ: When did she write the story? How long had you been hoping to publish it and what was the impetus for getting it published now?

HAMILTON: Jean Reed wrote the story in the 1940’s in collaboration with Clyde Seymour, the original illustrator. She attempted to publish the story numerous times going through the usual routine of submitting the double spaced typed story to the big publishing companies. Then the wait at the mailbox for weeks with a hopeful attitude was the norm.

The conservative responses were repetitious. “Children don’t need ‘fluff’ when reading about digestion. They need facts.” Really? Along came Dr. Seuss and the culture for appropriate children’s reading was changed. However, Jean’s writing interests had moved to other venues by then and the Tummy Men was in the file cabinet.

Following her death, I found the story and vowed to get the story published. I brought it home and it continued to sit in my file cabinet until the Covid-19 pandemic brought normal life to a halt. I discovered the Peppertree Publishing group right here in Sarasota, Fl. Being a music teacher and dealing with the audio world, the visual world loomed as a challenge, but not to fret as Peppertree came to the ‘comfort rescue.’ The story was published, first in the Caucasian edition, then the Black/Brown version and there will be an upcoming Spanish edition. The Tummy Men are versatile!!!

FQ: Are there other stories of your mother’s that you plan to publish?

HAMILTON: Jean kept most copies of her past and present writings which I found following her death. I was requested to send it all (years 1977-2004) to the Jerome Lawrence and Robert E. Lee Theatre Research Institute at Ohio State University. I did so and they are in the “Special Collections” section for students majoring in theatre and creative writing. The collection can be used as a writing guide and for others to view and/or study as if they were officially published. This posthumous effort was an accomplishment for her that I was honored to do.

FQ: Your mother was also a theatre critic. Were you able to share her love of the theatre and attend any productions with her?

HAMILTON: My mother moved to Sarasota to be near me following my father’s death and it was an interesting ‘adult time’ between us. As a theatre/arts critic, she usually was sent two tickets to attend an event and I was her first choice to join in the adventure. As a music teacher with the Sarasota County School Board, it was absolutely wonderful for me to witness the productions while sharing time with my mother. My salary was not one that afforded me the continuous luxury of going to an event, sometimes two times a week. I learned and applied techniques and contacts that I made in my own music classroom. Suddenly I could bring in a guest artist to help with a lesson or borrow a costume from a local theatre for an in-school production. She never missed one of those productions either and would always give us a critique for the students to ingest.

She invited me to attend National Theatre Critic Association conventions with her and I was privileged to attend two, one in Oregon and one in Philadelphia. I remember one of the activities for the critics in Philadelphia was to go up Rocky’s steps where at the top was a bright marquee welcoming the critics to town. The presentations at these meetings were stimulating and motivational. She remained current with writing styles, public interest and the Associated Press Stylebook And Libel Manual, a must for professional journalists.

When celebrities came to town, she would interview them prior to their performances. She took her small tape recorder with her so as to not miss a comment. I missed most of those events as it would be during the week when I was teaching. She found questions that were of interest to the interviewees and usually the two or three of them would have some good laughs!

I realized how tough the writing gig can be when realizing she was writing two or more critiques a week and could also be writing a feature article on the building of a new performance center. Sometimes she would ask me to help write a story and HOURS later, I would have the first sentence written. Like Tom Hanks, she used a manual typewriter until the last five years of her life when I convinced her an electric one would be easier. She missed the sound of the keys striking.

FQ: Your mother wrote a popular book, Resumes That Get Jobs, which is, of course, for the adult market. Five Funny Tummy Men is quite a jump in genres from that – was writing for children a hidden passion for her?

HAMILTON: I don’t think it was a ‘hidden’ passion. She enjoyed kids and grew up in a household as one of the older of seven children. She helped take care of the younger ones and understood the mind of a child.

Jean’s mother was a church organist until her late 80’s so Jean possessed a musical talent that she passed along to me. When I was a child, she would make up songs while we were washing dishes or taking a walk. I think she was verbally and visually creative for all ages!

To learn more about Five Funny Tummy Men, please visit the publisher's website at: www.peppertreepublishing.com

#BookReview - Rats in a Maze

Rats in a Maze

By: Peter Bailey
Publisher: Moonshine Cove Publishing
Publication Date: September 2020
ASIN: B08JMC8VHJ
Reviewed by: Anita Lock
Date: October 2020

A traffic accident morphs into everything bizarre in Peter Bailey’s newest novel, Rats in a Maze.

NYPD Detective Ray Fisher and Brad Lahoti, his rookie partner, investigate what Fisher believes to be just another traffic accident. But the odd collection of items, including explosives, that they find turn the case in another direction. Before they realize what’s happening, the detectives find themselves amid a wild goose chase in their pursuit to crack the case—nabbing Jessica and Milo Sorenson, an immensely wealthy couple. In the process, the duo fall victim to what Ray believes is mind control. To test his theory, he recruits two agents to see if the same thing happens to them.

The plan goes awry, and Ray and Brad end up suspended from their jobs for a month. Ray and Brad, now weaponless and marked men, go into hiding, running from one place to the next once they realize they are being followed. Just when they think they’re safe, all hell breaks loose. Oddly, coming to Ray’s rescue is Jessica Sorenson. Jessica divulges an unusual tale to explain her fugitive stance. The problem is that Jessica is not the only one on the run since agencies consider Ray to be a murderer and are on the lookout for him. While Ray is clueless as to what to do next, Jessica has a plan. What unfolds is nothing but bizarre.

British author Peter Bailey pens an eccentric story in his third book, the first with Moonshine Publishing. Ray Fisher and Brad Lahoti fit the stereotypical descriptions of an offbeat pair, continually struggling to work as a team. While principal character Ray reflects a hardened, old-school, noir detective, Brad’s supporting role follows in the opposite direction; he’s gay and highly tech-savvy. What binds them together are their dysfunctional backgrounds—Ray’s crumbled marriage and Brad’s estrangement from his family.

Bailey keeps his chapters short and entertaining, filling pages with detailed background descriptions and imagery heavily laced with hilarious metaphors, hyperboles, and similes. Amid a small stereotypical cast, Bailey incorporates scenes that befit TV police program plots—at least initially. But just when you think you can see where the story heads, Bailey shifts things around to the point that there’s absolutely no second-guessing.

Any hope for anticipation gets thrown out toward the latter half of the plot when Ray's life morphs into the unexpected and the story turns into all things dystopian with a downright Twilight Zone feel to it; the story, shifting from mystery to thriller/horror. How it fits in the broader scheme of things is anyone’s guess as Bailey leaves that section open to his readers’ imagination.

Quill says: Riveting from beginning to end, Rats in a Maze is a one-of-a-kind noir read.

For more information on Rats in a Maze, please visit the author's website at: peter-bailey-books.com

 

#AuthorInterview with Motaz H. Matar

Today, Feathered Quill reviewer Ellen Feld is talking with Motaz H. Matar, author of The Pigeon Whisperer.

FQ: Tell our readers a little about yourself. Your background, your interests, and how this led to writing a book.

MATAR: I am Motaz H. Matar. I’m originally a filmmaker, a movie director. I’m a university teacher as well. I’m always curious about discovering new things and exploring new ideas and storylines. I’ve started making short films 10+ years ago and I was always interested in finding different mediums and platforms to tell my stories. Three years ago, I decided to write my first book The 28 Mansions of the Moon, a story of the Sufi-mystic Ibn Arabi. My life has never been the same since then.

FQ: Have you always enjoyed writing or is it something you’ve discovered recently?

MATAR: I always felt that writing is a place where I could express myself. Since I was young, it was always a place I would run to. It was always a place larger than reality and bigger than the mundane and bigger than life. Writing has always been the go-to place. It was always: the place.

FQ: Tell us a little about your book – a brief synopsis and what makes your book unique.

MATAR: My book is about a Syrian refugee and a pigeon breeder, Dabbour, who flees the war in his hometown to try to find a new home for himself in Germany, but things don’t go as he expects. One day in a Berlin train station, Dabbour sees a wayward, injured pigeon on the railway tracks; without thinking he jumps to save it, causing chaos and almost getting himself killed. For this, he is arrested by the police - and he realizes how much he misses home and his birds. Dabbour uses his talents as a "pigeon whisperer" to steal stray pigeons and train them to transport drugs. Dabbour sinks further and further into the world of crime and drug-smuggling, jeopardizing his residency status in Germany. Dabbour is forced to choose between his loyalty to his new "family" - the drug ring - and doing the right thing. 

FQ: What was the impetus for writing your book?

MATAR: I was in Germany at that time where I was doing my MA in Serial storytelling. I was waiting for the train to come, looking at the pigeons and I asked my wife: “Do you know that pigeon whisperers are treated like outcasts in their own countries? That their testimony in court is not accepted?” Then I started making the connection between a refugee and a pigeon whisperer. I found them to be the same in many ways: outcasts, underdogs and introverts. I felt the significance of this story not only on a universal level but also on a personal level where I felt in so many ways I was talking about myself: living the experience of losing home and traveling the world looking for a meaning of home somewhere out there.

FQ: Please give our readers a little insight into your writing process. Do you set aside a certain time each day to write, only write when the desire to write surfaces, or ...?

MATAR: I always love to create a pattern and a routine where I sit and write everyday but sometimes life comes in the way and I can’t lock dedicated hours for writing. Writing is an excruciating mental process. It’s heavy. Intense but it’s an organic process. If I sit one day to write for two minutes, then I would consider that a win. If I sit and write two pages or 10, I take that as a win too. I think a lot of writers fail to commit to writing because they set bigger goals for themselves. They aim high and when they can’t meet those goals they become too harsh on themselves and their writing as well, they become critical.

FQ: What was the hardest part of writing your book? That first chapter, the last paragraph, or ...?

MATAR: The hardest part of writing this book was about finding authenticity. I wanted to tell a story that is authentic and realistic. I wanted to tell the details right. To show the life of refugees in Germany, to tap into my memory and into my visual library, to tell the truth as I am seeing it. The hardest part is always about telling the truth or at least some part of it. 

FQ: The genre of your book is General Fiction. Why this genre? Is it your favorite to read? Did you think it would be the most challenging?

MATAR: I always aim to focus on the story and the characters allowing the characters to discover their own journeys and find their own way.

FQ: Do you have any plans to try writing a book in a different genre? If so, which genre and why?

MATAR: The Pigeon Whisperer is my third self-published book. I wrote a story about the Sufi mystic mystic Ibn Arabi called The 28 Mansions of the Moon where I talked about spirituality and romance and mysticism. My second book was called Tunnel Twelve a story set between Berlin and Palestine that talks about walls, wars, and human connections. What will my next book be about? What genre? I think I’ll let the story decide that.

FQ: Is there a genre you have not yet delved into that you would like to attempt in the future?

MATAR: I would like to blend stories and delve into mixes of genres. Maybe magical surrealism? Magical mysticism? Are these genres? I’m not sure to be honest.

FQ: Who are your favorite authors and why?

MATAR: I read a lot. I love reading. Reading changed my life and it still does every single day. I read all kinds of books. I read fiction and non-fiction. I read for Hemingway, for Elif-Shafak and for Khalil Gibran. I read poetry and articles and literature. I think I prefer to pick my favorite topics based on the story or the content not just based on the author. Any author who succeeds to move me emotionally and tell me a good story: then he or she is my favorite author. 

FQ: Which do you find easier, starting a story, or writing the conclusion?

MATAR: It’s always harder to start the story because you are attempting to set the tone and trying to find your own voice and the voice of the characters. The conclusion is easier to find once I figured out the heart of the story. The middle of the story is always the hardest to write because it’s where all the twists and turns happen and the action takes place.

FQ: As an author/writer, what famous author (living or dead), would you like to have dinner with, and why?

MATAR: I would like to have dinner with the Syrian poet Nizar Qabbani. He inspired me a lot with his words. He also saved my life. At a time when I was young and saw little hope, Nizar’s writings gave me the spark to carry on, finding my own voice and believing in myself to have the courage to write. 

FQ: What is your all-time favorite book? Why? And did this book/author have any influence over your decision to become an author?

MATAR: My all-time favorite book is The Baron in the Trees by Italo calvino. It’s a wonderful book about living in your own terms and challenging the status quo. It’s a story about challenging the norms and believing in the life that you choose for yourself. We live in a world where we care so much about what people tell us and how we should live our lives and how we shouldn’t. This book tells you to choose your own path.

FQ: Where do you think you’ve improved the most in your writing process and ability and how do you think you have evolved?

MATAR: When I started writing more and believed in my own voice. I felt that I always get the most out of my writing is when I don’t do it for a bigger purpose. When I don’t write to succeed, or to get published or to please anyone or to make money. I think the only way I have evolved as writer is when I continued to write, just for the sake of writing and the joy of it.

FQ: How do you approach a new story and when you set pen to paper, is there a specific process you follow (or do you just write and let your story take the lead to where it must go)?

MATAR: A lot of the stories I write are pre-planned. I create full outlines that show me the direction of where the story is going. I know where the story is going to start and how it’s going to end. I always learned to trust that the characters in the story will lead the way.

FQ: If you were to teach a class on the art of writing, what is the one item you would be sure to share with your students and how would you inspire them to get started?

MATAR: I always tell my students to trust in their own voice and not to be afraid of failure. I always tell them to keep moving forward and to explore their creative outlets. Creativity doesn’t just come. You have to ask for it. Creativity is about movement and action: you have to go for it.

FQ: Where did the idea for your story come from?

MATAR: It came from a visual image I had kept with me since childhood, the image of the birds flying at sunset over the rooftops of the old-roman buildings. Years later when I was standing at the edge of the train’s platform in Germany, I could recall that image so clearly and a poem I wrote then about the relationship between cities and love called “she-city”. I was looking at that exact scene and I remembered my life’s story and the reason I had started to seek a new life in the west where freedoms are vast, dissent and diversity is encouraged. 

FQ: Did your family & friends encourage you to write your book?

MATAR: I was always lucky to have support groups of family and friends whom I would always read for what I have written whether that was poetry or prose. Having a support group is crucial for a writer’s life. You don’t need a critic or someone who would destroy your faith in yourself when you write something. That’s the last thing we need as writers, especially if you are getting started. There are enough “energy vampires” in the world. 

FQ: Did the story change as you wrote the book?

MATAR: I started developing The Pigeon Whisperer in Germany as a TV show. It was my master’s thesis project in MA in Serial storytelling. I had a plan and a direction for where the story was going when I started writing it as a novel. A lot of the elements remained the same such as the character’s and the plot. The ending changed or I should say it was discovered as I was writing the novel because I wasn’t clear about where the main character was heading to in his journey.

FQ: Was the plot worked out completely before you started or did it evolve as you wrote?

MATAR: I had a full outline for the story before I started writing the novel. I had the first episode written as a screenplay which became the first two chapters of the book. I should stay that the story evolved so much when I started writing it as a novel, it became a different animal but at its core remained the same.

FQ: Tell us about the protagonist in your story.

MATAR: Dabbour is a Syrian refugee, an introvert, and a pigeon lover and breeder. He was forced to leave his home country to flee the war and the dangers that his birds faced. He is a pigeon fancier and a lover of life. Throughout the story he learns to appreciate the meaning of good human relationships and to open up to the world while still loving his birds.

FQ: Are any of the characters based on real people you know? If so, how closely does your character mimic the real person?

MATAR: Most of the character’s were somehow people I had come across in my real life like Mr. Saleh whom I had met as an owner of Syrian Pizzeria in Berlin one day while visiting Germany. 

FQ: If a character(s) is based on a real person, what made you decide to do that? Did you tell that person he/she is a character in your story and if so, what was their reaction?

MATAR: When I met the Pizzeria owner. We talked about the Arab world and the western world and life. When I started writing the story, I thought of him as Mr. Saleh. That’s the first thing that came to my mind. Life prepares us to write the character’s in our stories. A writer must to keep an open eye to details.

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?

MATAR: I think bad characters are always fun to write in stories, not from a moral perspective for sure, but it’s always interesting to approach the other point of view. It’s like you are having a debate with yourself or having a conversation with your inner-conscious about what is right or wrong, good or bad. 

FQ: Tell us about your favorite character and why that person is your favorite.

MATAR: My favorite is Mr. Saleh. He represents the guide and the moral figure. He’s the father and the voice in our heads that leads us to the right path – yet we always find a way to neglect that voice.

FQ: Tell us about the fans favorite character. Were you surprised at the response to this character? Why do you think readers respond to this character?

MATAR: I think readers can identify with Mr. Saleh because we’ve all had mentors in our lives and people who taught us things. Teachers who react in ways we don’t understand at first, and later on in life we have an experience and it hits us – we recall a lesson that our teacher or mentor or father or mother taught us, then everything starts to make sense.

FQ: What was the most difficult scene to write and why?

MATAR: The most difficult scene was a scene when one of the character’s dies in the story. I will not spoil the story for the readers. Writing that scene brought me to tears.

FQ: Was it important to you to have a plot that would keep readers guessing about the outcome?

MATAR: It was important to keep the audience guessing if the main character will find home again or not. If he will go back home or find a way to belong in a foreign land.

FQ: How did you approach the need to keep readers engaged and tuned in to keep turning those pages?

MATAR: I always try to write events that keep the story moving forward. Probably that’s why my books are short (30,000 -40,000 words). I imagine that if I enjoy writing the story then my readers would enjoy reading an action-packed story as well where the events move forward.

To learn more about The Pigeon Whisperer, please visit the author's website at: www.motazhmatar.com

 

#BookReview - Five Funny Tummy Men

Five Funny Tummy Men

By: Jean Reed
Illustrated by: Clyde Seymour and Jason Fowler
Publication Date: June 2020
ISBN: 978-1614937098
Reviewed by: Holly Connors
Review Date: October 2020

Have you ever tried to explain to a child what a tummy rumble means, or why they need to chew their food before swallowing? Now there’s a book that cleverly explains all the ins and outs of eating, why certain foods are important, and what your body does with each type of food.

Five Funny Tummy Men begins with an explanation of how “…these little men live right down in YOUR tummy.” We learn how small they are (hint: look at your fingers) and then we meet each one and learn what they do. First we’re introduced to Mr. Boss, who, well, his name says it all, he’s the boss who oversees the other tummy men. Next up is Mr. Swallow and Mr. Grinder, and their names, too, perfectly describe their jobs. Mr. Piler is in charge of separating all the food into piles based on what they are needed for: a fingernail pile, a hair pile, a bone pile, etc. The final tummy man, Mr. Deliveryman, delivers those piles of food to the parts of your body where those nutrients are needed.

While it’s nice to know what each tummy man does, it’s equally important to know what happens when you don’t eat the right foods. “To keep strong, healthy and ready for school and play, Mr. Deliveryman must make a delivery to EVERY part of your body EVERY day.” What happens if you don’t eat your vegetables? Five Funny Tummy Menexplains what happens to your body when those vegetables are missing, as well as when you miss other important foods.

This imaginative book also tackles the topics of eating too fast, playing too hard right after eating and eating too much or too often. Those “Funny Tummy Men” are not going to be happy if you do any of these things. And the author explains each one and why it upsets the tummy men.

There are lots of books on the market that explain the importance of proper nutrition. Few, if any, however, do so in such an original and fun way as Five Funny Tummy Men.The author has done a great job of injecting humor into her story and creating an imaginary world of “food processing” that children can understand. There’s more text than a simple few lines per page which means this book would be suitable for approximately a second grade reading level (younger children would need help or need it read to them, perhaps over a few nights for those with a short attention span). The illustrations of the Tummy Men, as well as parts of the body – the tummy as food is delivered, toes that are unhappy because they didn’t get the proper delivery of needed nutrients, the grinder that Mr. Grinder uses – are reminiscent of comic book images, with minimal details and bright colors, that draw the eye to the important things such as the tummy men’s facial expressions. It’s a style that works perfectly with the tone of the book to create an overall engaging experience that will draw children into the story.

Quill says: Five Funny Tummy Men tackles an important topic that children need to understand and does it in a way that will keep kids reading. Add this book to your child’s reading list!

For more information on Five Funny Tummy Men, please visit the publisher's website at: www.peppertreepublishing.com

 

#BookReview - The Lonely Vampire

The Lonely Vampire

By: Ann Greyson
Publisher: Ingram Spark
Publication Date: September 1, 2020
ISBN: 978-0578705088
Reviewed by: Risah Salazar
Review Date: September 25, 2020

Twenty-three going on twenty-four, Myrna Ivester feels lost in life. Being roommates with her best friend, Siobhan Mulcahy, is not helping. While Myrna is not jealous of her, she can’t help but compare their achievements. Siobhan just got promoted as head nurse in her department while Myrna is, well, she’s in the medical field too and wants to help people but she is not content with that. Call it a quarter-life crisis or something else, there is certainly a nagging feeling toward her existence that she can’t quite shrug off.

Ileana Vladislava is a vampire and is the last of her kind. She is lonely, yes. But more than anything else, she is annoyed. Choosing Wightwick Hall as her new residence seemed like the best option then, as it is close to the woods where she can hunt and is away from nosy neighbors. But Lorraine Krag destroyed Ileana’s much needed isolation when she and her husband moved close to Wightwick Hall. When there’s something that Lorraine wants to know, she is relentless. Will she discover Ileana’s secret or will Ileana succeed in scaring her off?

The moment Ileana sets her eyes on Myrna, she decides she is perfect. Well, perfectly troubled. After so many years, she has found another soul that she thinks she can drag into the vampire life. After carefully planning her steps, Ileana makes her move and not long after, Myrna awakes differently than she ever had in her entire life.

Ann Greyson’s The Lonely Vampire starts with suspense and action. Amazing imagery brings the setting and characters to life instantaneously, although the world-building takes some time to establish. With a slow pacing, the bigger picture becomes visible only halfway through the book. With an alluring yet calm tone, it draws the reader in. But the constant switching of perspectives from the third to the first person makes the story hard to envision. The characters, on the other hand, are written well; they have a solid background and are relatable most of the time. It is also nice that the book is LGBTQ-friendly, although Ileana's decision to convert Myrna to a vampire so she can be with her might have some readers questioning it as it was done without Myrna's consent. Overall, however, The Lonely Vampire is a very satisfying read.

Quill says: The Lonely Vampire is a case of “do-not-judge-the-book-by-its-cover.” Admittedly, the cover can be more aesthetically pleasing but the story surely makes up for it. It is simple and shallow, but it’s entertaining enough to ignite the senses.

For more information on The Lonely Vampire, please visit the author's website at: annsgreyson.com/The LonelyVampire

 

#AuthorInterview with Robert Hoyman

Today, Feathered Quill reviewer Holly Connors is talking with Robert Hoyman, author of Limerick Comics.

FQ: As I mentioned in my review, I love the fun and playful nature of your book. What drew you to limericks and why did you dedicate your first book to them?

Author Robert Hoyman

HOYMAN: The idea for creating Limerick Comics was born of necessity. In the early 90s, I brought from home a book that my own two sons found particularly entertaining. It was A Book of Nonsenseby Edward Lear, the quintessential British author, illustrator, and poet presenting the superb form of limericks that he popularized. As expected, my students were delighted by the humor and downright silliness. As soon as we were finished and we had run out of limericks, the kids pleaded for more.

Eager to advance their enthusiasm for learning, I headed for the school library, the public library, and the local bookstores. Surprisingly, I could find no books featuring limericks for children. At the time, in my experience, it appeared that the genre was underrepresented. As a result, I began writing my own. But my personal interest was to write about meaningful topics we encountered along the way in Science and Social Studies. The students enthusiastically created the illustrations.

In the succeeding years, I routinely shared my limericks with my students. In school districts from California to Florida, the reaction was consistent. The students were enchanted by the humor, captivating stories, and goofy illustrations. It became clear that upon retirement I would polish my old limericks, write new ones, provide a fascinating accompaniment of fun facts to inspire discourse between teachers or parents and kids, and find a brilliant illustrator to create evocative comics. The result was my debut book Limerick Comics.

FQ: How long does it take to write a single limerick? Do they come to you quickly or do they need to rummage through your head a bit before they come to life?

HOYMAN: For me, it takes a good long while. Typically I can get the first two lines and a fair idea for the direction of the story. The next three lines take more time to emerge. The final line is crucial because it serves the purpose of resolution and often story clarity. Occasionally I use it to offer an intriguing inference explained further in the nonfiction sixth panel. Some have used the fifth line of a limerick to restate the first, but I find it essential to help tell the story because five lines are restrictive enough. I really embrace the process of crafting a limerick poem with a strict adherence to anapest meter working within the constraints of word choice imposed by the number of syllables and placement of the accent. That’s the real challenge. So I ponder individual limericks for days slowly taking shape wherever I might be. I try to swim each day at our community pool nearby. While relaxing at the pool, more than once the words and phrases that fit just right beckoned, unforced, and I had to jump on my bike and pedal home frantically to write them down before they faded away.

FQ: The topics of the limericks in Limerick Comics are so varied. How did you choose the subject matter?

HOYMAN: The topics were all gathered along the way throughout my teaching journey. I chose the subject matter that I found fascinating, but I also included many topics that I remember eliciting interest, intrigue, and curiosity in my students. Some limericks were built around introducing a particular concept like bioluminescence, gastroliths, or the unusual fact that octopuses possess three hearts. Others address the natural expression of curiosity found in children. They’re always wondering where things came from. These can range from the origin of colossal roller coasters to something quite ordinary like cement.

FQ: Is there a chance you have a stash of limericks that you couldn’t fit into this book and that might make an appearance in a sequel?

HOYMAN: Yes, I have a number of them but many didn’t make the cut because they are comical and goofy. Although entertaining, they lack any educational value. I can envision someday putting them out there perhaps with a single amusing hyperbolic illustration to induce a few guffaws. However, there’d certainly be no need for a sixth panel.

FQ: When you write up a limerick, do you picture the images that will accompany the verse?

HOYMAN: Not with any great detail. I concentrate on writing a complete story with only a vague sense of the imagery. After endless revisions, I found it exhilarating finally turning the manuscript over to Steve Feldman then anxiously waiting for him to breathe life into my goofy characters.

FQ: Along the same lines, tell our readers about the process of working with your illustrator, Steve Feldman. Are you very specific about what you want for each limerick? How you want the images to appear? Colors, facial expressions, etc., or do you discuss the basics with Mr. Feldman and then let him go wild?

HOYMAN: Collaborating with Steve Feldman was a thoroughly enjoyable experience for me. Having recently retired after 40 years of teaching, the daily back and forth by email was a stimulating and invigorating learning experience. Our goal was to produce a book of outstanding quality with an elegant appearance worthy of the coffee table. Steve is not only a supremely gifted artist and illustrator, but he is also the consummate professional. I like to think that I was wise enough to turn over the revised manuscript to Steve and get out of the way. I deferred to his artistic vision. I felt that we could achieve a quality result if he felt unencumbered and just had fun with it. I believe he did find the process enjoyable and the range and diversity of the subject matter really allowed Steve to showcase his versatility as an artist. Jokingly, I told him to recall his days in Jr. high school when he was drawing comics in his notebook instead of paying attention in class.

FQ: Authors are often asked if they have a favorite book among the books they’ve written. Do you have a favorite limerick?

HOYMAN: Not really. They’re like my two sons. I love them equally while appreciating their unique qualities. Like anyone, I find the subject matter in some more interesting than others. However, I guess if I was forced to pick one King Tut always brings a chuckle. “At nineteen no pharaoh was cooler.”

FQ: I see from your author bio that you’re a member of SCBWI. Would you tell our readers a bit about this organization and why you’re a member? Would you recommend other debut authors join?

HOYMAN: Society of Children’s Book Writers and Illustrators is a nonprofit organization specifically for those who write for children and young adults. Their mission is to support the creation of quality children’s books around the world. Membership is open to anyone with an active interest in children’s literature. They sponsor conferences, workshops and many other events. The message boards, webinars, blogs, and local chapters make available a network of support opportunities like guidance, information sharing, critique groups etc. It has been tremendously helpful to me as I began to learn more about the writing industry and community.

FQ: While your career in teaching continued for over four decades, you also produced and directed numerous musical plays. Do you miss the creative process of theater and do you think you’d ever get involved in another play? 

HOYMAN: I miss the creative process of theatre immensely. It was among the most gratifying experiences in my teaching career. I loved challenging fourth and fifth graders to learn 40 pages of script, 6 songs, and then witnessing the students use their unique, evolving skill-set to create memorable characters. They learned fluency and problem-solving in an authentic and natural way. They returned home from school each day after rehearsal singing a happy tune. I can still see their eyes when the curtain closed on opening night reflecting the look of pure relief, pride, elation, and confidence in the making. I have since encountered several of the former cast members. Not once have they recalled a top score on a state-mandated test, but all share fondly the joy and lifelong memories cherished from our musicals. Now that I’m retired, I can’t envision involvement in another play. I’ll just continue to turn to writing.

FQ: Is there another book of limericks in your future or do you think you’ll try another genre?

HOYMAN: I’ve been researching a project that is likely to result in a juvenile biography or historical fiction. I feel passionate about the need for this story to be told. Perhaps later, I’ll publish the batch of limericks referenced earlier.