I met Rebecca Skloot in New York last fall, when after a National Book Critics Circle event I had little business attending, I tagged along with a group of former board members in search of cocktails. Because we’d gone to the same graduate MFA program I knew her name — not that I learned the names of all alumni, but the nonfiction program had been passing Skloot’s book proposal to class after class of new students, saying This is the way you do it.

The book, however, had been in (and out) of the works for a long time, and when she told me it was finally on the way, I suppose I was dubious. But I was also curious. It sounded fascinating, and it was.

The book was released Tuesday, Feb 2; my piece on Skloot and her book, The Immortal Life of Henrietta Lacks, ran in the LA Times this Monday. Here’s some of it:

Lacks, who died of cervical cancer in 1951, is the source of the HeLa cell line, the first human cells able to reproduce on their own in the laboratory.

By the time of her death, researchers at Johns Hopkins University had been trying for years to find cells with such reproductive properties. Lacks’ cells — powered by something in her cancer — were so remarkable that Hopkins shared them with scientists around the globe. A new industry of mass-producing human cells grew up around them.

HeLa cells have been used in experiments for decades, enabling countless scientific discoveries, including the polio vaccine and the discovery of chromosomes. The were blown up with an atom bomb and sent into space.

Still in use, they have been produced at mind-blowing volumes — enough to wrap around the world three times. They’ve been called immortal. Yet as vitally important as they have been to science, few have thought about their origins.

Skloot first heard the story of the cells as a teenager, learning only that they came from Lacks, an African American woman. She found the information tantalizingly inadequate. At the time, Skloot’s father, Floyd (who is the author of several books about living with brain damage) was severely ill and enrolled in a difficult, frustrating drug trial.

“I think that’s why I latched onto the story,” she says. “My first question was, ‘Does she have any kids? What do her kids think of this?’ “

One thing I didn’t mention anywhere is that Skloot has established the Henrietta Lacks Foundation, in hopes of providing resources to subsequent Lacks generations. Henrietta was poor when she died; her children grew up poor, as many of their children have, unable to afford to health insurance even as major biomedical industries have grown up around their mother’s tissues. Maybe some of the people who make charitable decisions in those industries will consider putting some resources into the foundation.

I interviewed Skloot in January, before she embarked on a massive, 100+ day book tour. Part of that conversation was posted on Jacket Copy, the LA Times book blog. Seeing Skloot in action, and hearing her story of this book, is highly recommended — she’s a total dynamo. I feel lazy around her, and believe me, I generally only feel lazy when encumbered by a massive hangover.

Chances are, if you’re living in the continental US, she’ll be showing up somewhere near you soon.

If you’re trying to keep up with the year in reading at The Millions, then, like me, you’re a little bit overwhelmed. So… many… books! All read in 2009. And all beloved by someone.

For the last few years, The Millions has done this year-end survey. Kindly, they ask only that the books be those consumed in the previous 12 months, not necessarily published in that window. Which is how, in 2008, I got to rave about Dracula (have you read it lately? It’s totally amazing).

This year I’ve also weighed in, with two favorites. The crew of contributors has become increasingly formidable  — this year, Hari Kunzru kicked things off — and I look forward to seeing their final boldfaced names.

Speaking of Hari Kunzru — man, I’ve really got to read My Revolutions. Maybe next year.

I consumed Jonathan Safran Foer’s book EATING ANIMALS very quickly, mostly because I had less than 24 hours between the time I got my hands on it and our scheduled interview. It is, I must warn you, difficult to read while eating, even if what you’re eating is a plate of entirely meatless potato perogies. There is just no way to read about factory farmed chickens and not want to swear off eating anything, at all, ever again.

I don’t eat much chicken, because it’s pretty gross. But I do eat pork chops and bacon (mmmm, bacon); I make and eat delicious hamburgers; I buy spicy sausages and a nice hunk of tri-tip when I can find them. Frozen shrimp, fish, and cans of tuna. I eat sushi with gusto. Salmon skin? Bring it on.

It’s been more than a decade since I gave up being a vegetarian. I was solid veggie for two years, but I was blacking out a lot, and dreaming of cheeseburgers, which I took to be my body telling me that I needed more iron than spinach and tofu were giving me. So I did one year on, one year off — it gave me a resolution, and I stuck to it. In my world, fish were as off limits as cows (the distinction makes no sense to me still), but cheese and eggs were OK, because no animals were killed for them.

Part of my vegetarianism was health-related — we all know too much red meat isn’t good for you — and part of it was my conscience. I turned veggie the first time I drove past a cattle truck on a highway somewhere in the middle of America. You know what those trucks are like? The cows are stacked double-decker in metal cages; driving past, you can see their noses and haunches, the splatters of cowshit smattering the lower cages and those toward the back. Were they going to slaughter? Or just farm to farm? I had no idea. Neither did they, just that they were suddenly whipping down a highway one above the other at 75 mph.

Foer doesn’t write about this in his book — what he writes about is worse. The conditions of factory chickens, turkeys and pigs, who are barely recognizable as the farm animals we picture. How a slaughterhouse works, and how the trauma of killing animals on an assembly line turns normal people into sadists.

But it wasn’t that parade of horror that reminded me that I was once a vegetarian for a reason, and that I do care about that reason.

It was a list. On page 49 and 50, Foer lists the creatures that are swept up in tuna nets. Before I got to the end of the more than 100 fish, mammals and birds that die in tuna nets, I thought, I can’t be responsible for this. I can’t kill all those creatures because I like a good piece of sushi, because a tuna salad sandwich is a comfort food that goes back to childhood. I’m not interested in turtles dying, I’m not interested in killing an albatross that’s in the wrong place at the wrong time.

It’s possible to fish without enormous nets, it’s possible to raise and kill animals to eat in a way that’s not cruel. And those are going to be the only meats I eat from now on. If I can’t be sure, I’ll skip it.

Don’t get me wrong — I like meat. I REALLY like bacon, steak and New England lobster. I dreamed about cheeseburgers, for god’s sake. But I’ll only get those things when I know they’re humane.

If you’re a foodie and you don’t read this book, you’re not a foodie. And if I tried to tell you about this book and you tell me you don’t want to hear it, well, I think I know what you’re getting for Christmas.

Megan, aka Bookdwarf, writes about her troubles with the upcoming book Cleaving by Julie Powell. Powell is the blogger-turned-author-turned-Meryl-Streep-counterpart of Julie and Julia, the blog/book/movie. I read the blog, intermittently, back in the day; I read the book and taught part of it in my summer creative writing class; then took the class to see the film, which we discussed. The one thing we agreed on: we were all hungry afterwards.

Strangely, I wasn’t Powell’d-out; I thought the film did her a disservice, and hoped, when I saw Cleaving, that it would bring back the sassy, hot-sauce craving, searching and sometimes finding chick who’d come through in her writing. It didn’t, and after about 100 pages I gave up. Megan hasn’t, but, she writes:

I’m not enjoying it. It’s pretty much a rip off of Elizbeth Gilbert’s Eat, Pray, Love, but with a much less likable more self-involved author. It’s her memoir about her crappy life after Julie & Julia. She and her husband separate, get back together, she’s sleeping with someone else, she discovers she’s into bondage, she learns some butchering skills too. That’s the thread that’s supposed to tie it all together somehow. Also, she travels. See? Elizabeth Gilbert.

I agree, the butchery could string it together, and I wanted it to, but it didn’t for me. Partly because her writing was procedural rather than visceral — she’s good at listing the steps it takes to say, break down a half a pig, but not what it feels like or smells like. And — as far as I got, at least — she writes similarly of her relationships: descriptively but without the gooey sensory or emotional details.

I don’t mind the self-involved part — it’s her book, it’s her story. I would appreciate it if a woman could be strong-willed and make bad decisions and write about it without apologizing. It seems like we’ve had a long history of jerky male authors narrating their jerkiness — from Mailer to Klosterman — and making good fun of it. Why not Julie Powell?

But I think she fails to draw the reader to her side. I think the narrative distance she keeps never allows the feeling of genuine intimacy. We aren’t enlisted. We aren’t seduced.

And I wonder how much this is connected to her time as a blogger. Did her original blogger persona come between her and a kind of narrative truth?

Last night, after catching a reading that’s related to a piece I’m working on, I headed to the Barnes & Noble at The Grove — not my regular stomping grounds, but that’s where Richard Castle was signing his new mystery novel. Castle, as some TV watchers know, is a fictional character who writes detective fiction; despite his non-existence, he’s managed to write a real-life book, Heat Wave. The Amazon page is fiction itself:

Mystery sensation Richard Castle, blockbuster author of the wildly best-selling Derrick Storm novels, introduces his newest character, NYPD Homicide Detective Nikki Heat. Tough, sexy, professional, Nikki Heat carries a passion for justice as she leads one of New York City’s top homicide squads… Richard Castle is the author of numerous bestsellers, including the critically acclaimed Derrick Storm series. His first novel, In a Hail of Bullets, published while he was still in college, received the Nom DePlume Society’s prestigious Tom Straw Award for Mystery Literature.

Because of course there is no Richard Castle, so he couldn’t have written anything. Why, then were there close to 400 people lined up to get his books signed, many clutching two or more copies?

I have to guess it’s because Castle is played by Nathan Fillion. That would be the same Nathan Fillion that Joss Whedon has cast in Serenity/Firefly, in Dr. Horrible, even in Buffy the Vampire Slayer. Whedon creates super-fans, and Fillion — funny, hunky — seems to be irresistible. He has more than 190,000 fans following him on Twitter, and when he tweets about grammar — well, it’s enough to make a bookish chick like me swoon.

Anyway, the Castle book is a mystery. Who exactly penned Heat Wave? It couldn’t be Castle, because there is no Castle. It probably isn’t Fillion, because, despite his grammar skills, he’s busy acting. It might be one of the show’s writing staff, which would be cool, because many of the TV writers I’ve met want to write books. Or maybe it was just a ghost-for-hire who’s taken their pay and walked away.

But keeping the signings as they are makes sense: Castle may be charming, but people are queued up for a few minutes with Nathan Fillion. Who, from what I could see, is gracious, friendly, chats with kids and doesn’t mind posing for photos. Just like Captain Hammer would…

I don’t mean a public library. I mean a room in my house with shelves and books and a good reading light and a place to rest my bourbon.

Friends of mine have a library. I know it’s possible.

Laura Miller (who is the subject of this Jacket Copy post) wrote about culling her book collection in Sunday’s New York Times. She knows a couple who’ve gotten rid of most of their books; agent Ira Silverberg, who purges the books by the people he’s stopped talking to; and Jonathan Franzen, who once kept a strict read-to-unread ratio. Miller’s collection is more aspirational (may unread books, including a Dickens tome), but she tries to keep a one-book-in, one-book-out policy.

But the real issue isn’t how many books you have. It’s about how much space you have, factored against how often you have to pick up all your books and move them.

If I had a big rambling house like my grandmother did, I’d never get rid of any books. OK, some of the books that end up in my possession are throw-awayable, like one Tod Goldberg had to let go, but I would not be forced to triage books I actually want. I do not, like my grandmother, live in a big rambling house with a library — it also had a paleolithic-era TV that I think had ceased to function — I live in a small LA apartment that I will probably leave when my lease is up.

In my current space, my library is everywhere — narrow halls, living room, bedroom. I keep the unread books on a short bookshelf that actually needs to be taller. No matter how hard I try, stacks of books, usually in mid-read, form on horizontal surfaces like stalagmites.

In Pittsburgh I had a ridiculous amount of space, three stories of a skinny row house (plus basement), and I used the attic as a library. But the attic wasn’t insulated, so most of the year I only made forays up there, teeth chattering, to retrieve books as needed. I picked up bookshelves for other rooms and the library expanded. I had a newly-received branch (shelf) inside the front door; a grad-school project branch in the dining room.

Probably, no matter where I end up next — hauling boxes and boxes and many many many more boxes of books — they’ll still live everywhere. Library or not.

But I still want a library.

I wrote a short blurb on the new book Posters for the People: Art of the WPA that ran in Sunday’s LA Times. The piece appeared with several illustrations; the online gallery included 13 posters – in color, even.

Everything looks so cool it makes me want to go back to then, when we were living in a depression.

No, wait, scratch that.

OK, to go back to a time when we were living in a depression and the government had these really cool workfare programs for artists and writers. Or, you know, forward to a time like that.

I read a lot of books for reviewing, or blogging, or — well, formerly, grad school. But I’m done with grad school. So I read this book … just because.

Old Man’s War by John Scalzi. It’s been ages since I’ve read pure science fiction, and in some ways the old sweater — or today, tank top?  — felt soft and comfortable and delicious. I think his characterization is great, and the bantery dialog charming. I liked the world he created, and the not-so-strong humans colonizing space against bigger, more powerful and often hostile aliens may not have been utopic, but it was believable (as were the occasions when humans were bigger and more powerful and STILL hostile).

But other things didn’t work for me. A lot of exposition-in-dialog, characters explaining the world to each-other. Sure, a lot of the world is new to the protagonist — but too often it felt like the author explaining the world to the reader. There were a few plot points that made my eyes bulge — 100,000 people die, and 3 close friends are among the handful of survivors?

As much as I liked the protagonist, I’m not sure if I’d read the next book in the series. The part that intrigued me — 70-something man becomes a young warrior — was less interesting when I realized most of the other characters in the book had gone through the same process.

Scalzi is a man-about the internet, and I hate to say anything negative about his book. But maybe I say it to ask you — have you read it? Am I misjudging?

hayden childs at metropolis books

On Saturday, three authors read from their entries in the 33 1/3 album-focused series: above, Hayden Childs reading from his book on “Shoot Out the Lights” by Richard and Linda Thompson. I didn’t get pictures of Kim Cooper (Neutral Milk Hotel’s “In the Aeroplane Over the Sea”) or David Smay (“Swordfishtrimbones” by Tom Waits). From what I understand, the reading followed a bus tour of Tom Waits sites around Los Angeles; I came for the books. Let me say, as I’ve said before, Metropolis Books is a fantastic bookstore in downtown Los Angeles. Tons of literary fiction, beautiful cookbooks, all the best about-LA books in a space that’s the size of Vroman’s greeting card section but still manages to include some comfy seating. Go there, my fellow book-loving Angelenos.

On Sunday my review of John Berger’s From A to X ran in the LA Times. Although this takes me by surprise, I believe I captured it better than Ursula K. Le Guin.

Big congratulations to Laila Lalami, who has finished work on her first novel, Secret Son.

Of the list of literary maneuvers, I like “Pulling an Austen” best: gossiping about socially sensitive topics, falling for someone who seems complicated but is in actuality a dark-haired douchebag. (via)

allen ginsberg signed howl

Today on Jacket Copy you’ll find a whole series of author signatures and the stories behind them. This one is mine, and it’s last. The far-more-luminary contributors are Maud Newton, Nam Le, Claire Zulkey, Said Sayrafiezadeh, Jami Attenberg, Anne Fernald and Mark Haskell Smith.

The backstories are so good that I almost think we should be required to add them to our signed books, on special bookplates on the back overleaf.

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