Ken Capobianco's Blog

Here's a podcast I recently appeared on. It's an hour discussion of my novel and my recovery from anorexia. I'll be on another podcast, "Peace Meal," on June 19.


https://jedi-counsel.com/2019/03/30/k...

In the novel, Michael discusses the meaning of the film "9 1/2 Weeks" with his therapist Dr. Hampton. Ever doubtful of himself, he asks if he is correct. Dr. Hampton says, "Michael, you have a master's degree in literature, and something tells me you have seen a lot of movies. You know there is no right or wrong answer there. It's how you interpret it based on the content." Now I'm going to make a confession here--Hampton's response is very loosely based on what I used to tell my students studying literature at Northeastern University. I would try to convince them that if they could support their theories of interpretation with specific textual references that add up to a valid interpretation of a short story or play, they would be on solid ground when writing papers. I bring this up because I've been engaged with a number of readers who are emailing or sending private messages or texts to me with interpretations of some of the themes, events, characters, and ideas in "Call Me Anorexic: The Ballad of a Thin Man" ("He blames himself for almost everything because..." "I think Michael might be gay" "There's gotta be a reason for all the body fluids--I think it's because..." "What's the deal with the Catholic stuff?"). It's fascinating to hear what readers are telling me. Sometimes, they are seeing things in the text that I didn't intend (and trust me, there's an intent for every line of dialogue, event, and pop culture reference). Some of the interpretations and theories are wonderfully insightful, and sometimes I'm asking the readers, " Huh? Okay, show me where you see that connection?" I end up seeing my own work in a different light. A few interpretations of what happens after the last page are...well, let's just say, fascinating (to put it mildly). Don't worry, I'm not giving away anything about the ending beyond the shark and whale both die. And no, there will not be a sequel. I'm not going to go fifty deeper, darker, hornier shades of anorexia. I'm really enjoying the feedback and how carefully everyone is reading--damn, I have smart, fast readers! It's been a fun first week or so, and I appreciate everyone being so engaged with the work. I'm sure there are many readers just beginning or somewhere in the in the five sections while some are waiting until they finish James Comey or Ronan Farrow or Jake Tapper or one of the 10,000 Netflix shows they've saved (I'm about to start "Berlin Babylon"). That's expected, but I appreciate all the readers chiming in so far and look forward to what everyone else has to say, even if it's "Dude, what the hell was that about?" Of course, the answer is, "About 409 pages."

We are five days away from the official, international release day of "Call Me Anorexic: The Ballad of a Thin Man," but because it is already available on Amazon.com and callmeanorexic.net, a number of people are already reading the novel. I am getting some feedback via texts and email--so far so good--but I'm ready for all types of reactions. The novel is different and challenging at times. It's also wildly profane in some sections, so I'm not sure if everyone is going to understand the authorial intent behind those passages. And there is an intent. There is meaning to every event, pop culture reference (pay attention to the films, especially), and doctor interaction (I'm not going to give too much away, but read those doctors' names carefully). Some readers may try to put the psychological puzzle together, and others may just enjoy the narrative. That's the way it should be. Some readers may like the book and some may say, "Nah Ken, a bit much for me." As David says midway through the book, "Some people like Pink and some people like Floyd." Interpret that any way you want, but I know it's rare for all patrons of the arts agree on everything. How boring would that world be? Of course, I'm hoping everyone will be invested in the characters and narrative until the last word. I believe in the book--I know this is a story that's never been told before. So I'm looking forward to seeing how readers respond, and I'm encouraging everyone to review it either here, on Amazon, or on social media. I know I didn't write a one or two-star book, and I'm anticipating positive notices, but I'm also a music critic who has given plenty of bad reviews over the last thirty years. Let's just say I'm ready for all reviews and reactions. Here's a story for you. In the '90s, I reviewed a punk/metal band in Boston. They weren't very good--in fact, they were borderline inept. I gave them a negative review, which provoked the band to put a fatwa on me. Yes, they threatened me with death. I kept getting death threats through emails and phone calls at my job at The Boston Tab. At first, I was alarmed, but then I thought "Who is really going to kill a B-level music critic over a lousy review?" These guys must have spent too much time watching the Goth version of "I Spit on Your Grave." After the thirtieth email threatening to kill me if I ever stepped foot in the Middle East Club in Cambridge, I decided to write back, "You can't do anything worse to me than I've already done to myself." The emails and phone calls stopped. A week later, I got a letter at work that said, "The band disagrees with what you wrote, and we really hate your writing, but you don't have to worry about going to the Middle East anymore." True story. I realized beneath all the anger and waves of feedback (and terrible guitar playing), they were just sensitive artists who wanted to be liked--crazy and a bit ridiculous sensitive artists, but still artists. All artists want their work to be appreciated, but we need to be prepared for all types of reactions. And I am. My only fear is people not having any reaction at all. The horror! Reader indifference is the only enemy of the writer (besides himself--relax, yes, yes, I could have written herself).

We all have to start somewhere, and I'm happy to appear here on Good Reads. I've been writing for a long time but "Call Me Anorexic: The Ballad of a Thin Man" is my first novel.
I bounced ideas around in my head for many years after I moved from Boston to Long Beach, but my music criticism always got in the way. I was always writing longhand on legal pads while sitting out by the barbecue table outside my place in the beautiful Long Beach Marina and jotting down dialogue in the middle of the night. I had the story in my head, but let's be honest, until you commit words into a document (I'd show my age if I said "onto paper"), you really don't have anything. After a long conversation (for an article) with soul singer Jill Scott about creativity and the nature of art, I said to myself, "It's now or never." I sat down to write the first sentence, which is a play on the first line of "Moby Dick."
It would become the title of my book. As readers of Melville's great novel (I consider it to be the greatest American novel) know, the book is about both a young man's journey as he tries to find his place in the world and one man's obsessions with his demons. (Well, it's really about a lot of things, but we'll save them
a literature lecture someday). Ishmael sets sail on the Pequod and surrounds himself with brothers and father figures who make up his temporary family and provide a home. Ahab is obsessed with the great white whale that damaged him--his crazed obsessions lead to his demise. I'm not going to deconstruct my own novel before it comes out, but let's just say all of this is relevant (as are all the literary, rock 'n' roll, film, and pop culture references in the book). That's for you to discover.
Once I began the novel, I was cruising along until I began doubting myself, as all writers do. I didn't like the voice I was writing in--it was a bit too arch and "literary." I decided to trash all the pages I'd written and start over in the voice I wrote with for my humor column in Boston. It was infused with some attitude, irreverence, and levity.
The subject matter was already serious and the approach had to have the right tone or readers might tune out very quickly. I studied with Richard Price, the great novelist/screenplay writer, many years ago (I wrote with a chisel and stone) and he used to preach one thing above all else: "Don't be boring." Words for all you young writers to live by.
Once I shifted gears, the novel seemed to pour out. I hit stumbling blocks when the characters' voices weren't talking in my head as frequently as I'd hoped and I couldn't shift from criticism to novel writing as easily, but those periods didn't last very long. I dove in head first and spent every night and hundreds of hours (probably thousands at this point) writing and revising until I finished. It was a grueling process, but fun. When you know you are doing something meaningful and with merit, it's all worthwhile and pleasurable. Clayton Kershaw became Clayton Kershaw by working at his craft. I'm not Clayton--no one is--but I know how important it is to work until you get it right.
And six years later, we have "Call Me Anorexic: The Ballad of a Thin Man," which I'm very proud to share with readers come April 24.
I'm looking forward to interacting with readers and answering questions. Anyone who wants to get a taste of the novel (no that's not an intended pun--I don't think), can head over to the novel' Instagram account, where there are short excerpts and my commentary.

https://www.instagram.com/call_me_ano...

And one thing: Relax, don't worry, I don't use this many parentheses (usually). Okay, that one was for symmetry.
Until next time.