Email Interview with Brian Sousa (21st May 2017)

About Almost Gone:

Is the boy of "Fortaleza" supposed to be Fernanda's brother and where is the clue that tells us if he is or not?

Marcello is Fernanda's brother, indeed! There are a few clues to this, most notably after Scott struggles with the boy in the water, and then Fernanda comes to him upset, saying that her brother went to the beach and didn't come home. This passage is also meant to foreshadow the idea that Scott has now seen two children drown: Marcello, who he struggled with and when Scott almost drowned himself, and his own daughter, Emily:

"Fernanda stares too, following my eyes. "I don't," she says, but I'm not sure if she means that she thinks her brother is lost, or if she doesn't understand what I'm saying. It doesn't matter. We stare out at the flat sun, setting so low and close it feels like we could reach out and touch it. The waves that moved so restlessly before have disappeared..." (Pg. 12).

It's important to note that "Fortaleza" is supposed to be hazy and a fraction confusing, because Scott is drinking and taking pills. My intention was to have the entire story feel surreal, as seen through Scott's fractured and dream-like point-of-view.

Is the book autobiographical?

No, this is a work of fiction, through and through. However, I think all authors use details, small and large, from their lives, to get more of a sense of realism, and therefore power, into the work. For example, I did spent time in Fortaleza years ago; but I wasn't mourning the death of a child and self-medicating.

With which character does the empirical author mostly identify?

I'd most identify with Scott, if anyone; but that does not mean I haven't felt the emotions that Catarina, Nuno, and Paulo embody.

Is there any character you'd have liked to expand more on?

I find Catarina to be a fascinating character. I like the idea of a strong, independent woman who is learning about herself and breaking away from all expectation. I see her, in fact, as one of the most important characters in the book, and I'd love to get her back on the page and see where else she would go.

Would you change anything in the book now?

Yes, there are some typos and errors, some associated with the Portuguese language, and some not, that I would change. I was attempting to mix English and Portuguese as Junot Diaz does in his great book Drown, but it didn't really work altogether. Other than that, I am fairly satisfied with the book; but it is true that when I read it now, I think, "Oh, I'd write this sentence differently or describe this in more apt terms," but I think many writers are never completely satisfied with their work.

What happens to Scott?

That's an interesting question that I haven't really given a ton of thought! I would hope that Scott would ultimately leave Brazil and try to establish a new life somewhere; to start over. Or, perhaps reconnect with Paulo, his father. But, he is struggling with some heavy demons, so maybe he would just say in Brazil as an ex-pat, where no one knows him.

About Writing:

What are your literary influences? 

Did Under the Volcano influence Almost Gone?

I've never read Under the Volcano, but I grew up reading Ernest Hemingway, Raymond Carver, and William Faulkner. I'd also put Hunter S. Thompson, Denis Johnson, Jhumpa Lahiri, Bret Easton Ellis, Donna Tart, and Jonathan Franzen, Frank Gaspar and Junot Diaz into an unfinished list of my influences.

How do you feel about the Luso-American label?
On a broad level, I generally feel that labels can be limiting; can limit the pursuit and expression of art. What I am trying to do is tell a story, and move the reader to think and to feel. I have never attempted to write anything but what appeared on the page when I started typing. I am, of course, delighted and flattered to be read in Portuguese-American classes, and with my grandfather being from Gouveia, the Portuguese-American experience is a piece of my life. I spent every Sunday, growing up, at my grandparents' house, listening to them speak Portuguese, eating Portuguese food, and watching soccer! So it is only natural that this aspect of my life came out onto the page. 

However, I do feel that labels can imprison writers - especially in literature - but in all art. The more free we are as artists, as writers, to express ourselves without the weight of expectation, or the worry of "staying within the lines," the better, in my opinion. I do not consider myself a Portuguese-American writer, or an American writer; just a writer.

What is your relation with the Portuguese Language? Do you think your work as Portuguese-American writer would be enriched by improving your Portuguese (language and literature)?

I wish I had learned Portuguese early in life, and still hope to learn. The thing is, the language wasn't pushed on me, perhaps because when my dad was a kid, he found himself in the States, trying to fit in as an American; and he stopped speaking Portuguese. So, he never impressed upon myself, or my sister, the idea of learning the language. Someday, though, I'd like to spend a year or two in Portugal and learn the language! Maybe after I finish my next book.

What do you consider to be the most featured aspects of Portuguese-American identity in writing? What is the one you consider most important to you?

I suppose it is the element of Saudade; but for me, it is also the ideas of identity, and diaspora, and immigration and adaptation. I was always interested in what customs and beliefs my grandparents held onto, as opposed to those that they seemed to leave in the old country - and, the same with my father. How, then, we are tied to our pasts.

What is the Portuguese-American literature you like best and why?

When I was in Lisbon in 2011, I read all of Frank Gaspar's poetry. I would bring his books to cafes, read, and then write my own. I love his work, and I also love the work of Anthony De Sa, who I was lucky to meet in 2013.

I love what I have read of Saramago, Camoes, and Antunes; but I admit I would like to read more of their work, and perhaps take a class on them as well. I have found, however, that I love much of Pessoa's poetry and Book of Disquiet. I find quotes like this amazing:

“We never love anyone. What we love is the idea we have of someone. It's our own concept—our own selves—that we love.” 
― Fernando Pessoa, The Book of Disquiet

“I've always rejected being understood. To be understood is to prostitute oneself. I prefer to be taken seriously for what I'm not, remaining humanly unknown, with naturalness and all due respect” 
― Fernando Pessoa, The Book of Disquiet

“I feel as if I'm always on the verge of waking up.” 
― Fernando Pessoa, The Book of Disquiet

What is your writing process?

That is a difficult one, because I am not sure if I have a specific process. I try to write even when I'm not inspired, to see it as work, albeit rewarding work. I find ideas mostly come to me when I am doing other things, so I take a lot of notes in notepads and my phone. I generally revise a lot, on my computer, and when I think something has reached a certain level - a poem, or a chapter, or right now, 1/3 of a novel, I print it out and sit outside and use a pen to mark it up, then go back to the computer.

Generally, I think it's important to write what you love, what excites you, and what you would like to read. It is integral to take risks, and to also be confident in your work - but at the same time, be open to criticism.

Are there any theories behind your writing, literary or otherwise? Which?

I enjoy debating the ideas: 

what is a good person? Can bad people do good things, and good people terrible things? How do our backgrounds, and our parents' and grandparents' backgrounds, ethnic and otherwise, impact our lives? Why and how do we keep secrets? And, what is the nature of romantic love and how we see it now?

I am also interested in identity, and self-perception. But overall, when I write, I am trying to convey emotion, and trying to move my reader to think and to feel. If I can do that, then I believe I have succeeded.

Homework for 29th May.... maybe the last opportunity to comment!

Here is an interview with Eirin Mouré
http://www.poetryfoundation.org/harriet/2010/02/poetries-languages-and-selves-the-being-of-erin-moure/

In the light of this and any ohter factor you might want to take into account, comment on text III's "transelation" by Erin Mouré.

How to Write a Literary Review

http://euliteratura.blogspot.pt/2016/11/how-to-write-literary-text-review.html

Besides, don't forget "catchy / appealing / explicative" title and an evaluative overlook.

Sara Vieira, "The Holyoke"

Leaving Pico (by David and Inês)

Página de Frank X Gaspar

http://frankgaspar.com/

Translation Challenge for the 17th May - "Last Hymn to the Night"

In the comments box, write your attempt at translating the poem. If you do not have time for everything, try the first stanza, or just until "branches" at the beginning of page 36.

Questions to Ask Brian Sousa

About Almost Gone

Is the boy of "Fortaleza" supposed to be Fernanda's brother and where is the clue that tells us if he is or not?

Is the book autobiographical?

With which character does the empirical author mostly identify?

Is there any character you'd have liked to expand more on?

Would you change anything in the book now?

What happens to Scott?


About Writing

What are your literary influences? Did Under the Volcano influence Almost Gone?

How do you feel about the Luso-American label?

What is your relation with the Portuguese Language? Do you think your work as Portuguese-American writer would be enriched by improving your Portuguese (language and literature)?

What do you consider to be the most featured aspects of Portuguese-American identity in writing? What is the one you consider most important to you?

What is the Portuguese-American literature you like best and why?

What is your writing process?

Are there any theories behind your writing, literary or otherwise? Which?

Almost Gone - Requested Opinion (by Catarina Ramos)

To: elizabethrich_clinic@gmail.com

From: brunothatchercpf_uri@yahoo.com

Dear Dr. Rich,

 As requested, I have reviewed the patient files you have sent. The reports are attached below, as is my opinion about the cases.

With no further additions,

 Bruno Thatcher

[Behavioral Specialist, Clinical Psychology Department – Clinical Psychology Faculty, URI]

Attachment One:

                  “Patient file number 10769 – Helena [Redacted]

Patient records show a recommendation from one of the doctors to a psychologist due to a mental disturbance, later dubbed as an episode.

Session notes show that the patient came with her husband – who was described as resistant. The episode was registered but the patient was never fully diagnosed – the psychologist’s notes suggested that the underlying cause would take years to be found. Medication was instead given for the symptoms described – delusions, strong headaches, time and memory distortion.

Medical records also show that the patient was not born in the United States of America, so environmental causes would be harder to pinpoint. There were also additional risks due to two miscarriages – which could have provoked an unbalanced production of hormones – and possible dormant conditions – possible past trauma, not looked into due to lack of follow-up consultations.

After analyzing this case, I believe it is possible to conclude that the patient suffered from undifferentiated schizophrenia – possibly subduing with the intake of medication, as after the consultation took place, no more episodes or disturbances were recorded.”

Attachment Two:

                  “Patient file number 89207 – Scott [Redacted]

Medical records show a possible genetic predisposition for mental instability due to a previously recorded family incident. Despite this, the patient never showed any sign or symptom of schizophrenia – as any other mental instability – before

According to Doctor Rich’s notes, the patient’s wife described a change in behavior after two occurrences surrounding their daughter: her leukemia diagnosis and later unexpected death. Such would suggest these events were the trigger behind the patient’s almost sudden behavior change. Much like the patient’s grandmother, there seems to be an obsession in a certain subject – in this case, the patient’s daughter, Emily – to the point where anything else is considered unimportant and the attention span is drastically altered. Not registered in those records, but indicated by the patient’s wife – currently under Doctor Rich’s care – are symptoms such as hallucinations and dissociation, which further emphasize the need of professional counsel and medication.

As the patient stopped going to the consultations – which could also be assumed as a symptom – and the wife seems to be the only viable source of information about his most recent behavior, there is no more viable information that can prove an accurate diagnosis, despite the symptoms described pointing at either paranoid schizophrenia or undifferentiated schizophrenia.

Considering the patient’s priors, and taking into account how his behavior changed after the trigger events, I predict that his behavior and mental health will only deteriorate as time passes, unless treated as soon as possible. Currently, the diagnosis does not, unfortunately, look favorable.”

Student Commentary: Many might not feel the same way I do about this book, but “Almost Gone” by Brian Sousa is one of those reads that just leaves the reader speechless and yet, full of so many different feelings and emotions. For that reason, I wanted to avoid things that might have been too obvious to discuss, yet still talk about mundane – if not highly relatable – moments, as those are the moments that truly make us ponder about life itself. So, in my search for that middle ground, I debated between a critic and a creative piece, deciding on the latter for its flexibility in terms of usage. However, I faced another obstacle: the characters. Obviously, I wanted to talk about them, but couldn’t really talk as them, so I had to find an alternative. That was when I thought about the two shrinks mentioned in the book, and how I could then create another specialist that being an external factor, still had some weight in how two of the most damaged characters (thought that might be up for debate) – Helena and Scott – behaved and acted in the story, in an attempt to fill in the blanks without actually doing it, using the information given to the reader throughout the chapters and a possible reason as to why they acted the way they did – or in Scott’s case, do.

Frank X Gaspar, "I piece things together"

Brian Sousa, "Almost Gone" - for May 10

Choose two of four:

1. Reflect on the polyssemy of the nvel's title and how apt it is for the story/stories

2. Do you like the first person narrator Scott? Why (not)?

3. How do you react to the structure of the text? Do you think there is any content to this particular form (of polyphony, of the sthort story cycle)?

4. Comment on scenes/speech(es) illutrative of the different characters' attitudes towards religion.

Erika Vasconcelos, My Darling Dead Ones

Erika de Vasconcelos, "I Have Not Come to Hear Them Sing" , 1997

Comment on gender portrayal and / or cultural stereotypes, also comparing the narrator's voice with that of Junot Diaz's "Otravida Otravez"

Portuguese-American Literature

Diasporic Literatures - some useful notions

Junot Diaz

Díaz was born in Santo Domingo, Dominican Republic on December 31, 1968. He has two brothers and two sisters. Growing up, Díaz and his siblings lived in Santo Domingo with their mother while Díaz’s father went to the United States to work. His father sent for his family when Díaz was six. Their family lived in a poor part of New Jersey populated primarily by Dominicans.
He was a poor student at Madison Park Elementary and then at Cedar Ridge High School. Worked at a mill and at a pool house.
1992 - Graduated from Rutgers; creates "Yunior", who served as narrator of several of his later books
1995 - MFA from Cornell University, while working as editorial assistant at Rutgers Press. Publishe his first short story collection "Drown"
2007 - The Brief Wondrous Life of Oscar Wao wins several awards.

 2012 - Publishes short story collection This is How you Lose Her (with "Otravida Otravez")

Dominican Republic Timeline

- Belongs to the Island of Hispaniola, as well as Haiti

- It is the 2nd largest country in the West Indies (the largest is Cuba) with 48 442 km2 and 10 million inhabitants

- Taino Indians settled there at least since the 7th century

- 1492 - arrival of Christopher Columbus makes of the Dominican Republic the first permanent American colony, and Santo Domingo was the first Spanish capital in the New World. During the 16th century vast numbers of African slaves were imported into the island and they were forced to work on sugar plantations. 

- The west of the island was left largely empty and in the 17th century the French settled there. Finally in 1697 the Spanish and French signed the Treaty of Ryswick. France was given the western third of the island of Hispaniola. The rest remained in Spanish hands. 

- 1821 - occupation by Haiti, which country had gotten its independence in 1804

- 1844  - Dominican War of Independence signified 72 years of Civil War, with period of annexation by Spain. 

- 1916-1924: the USA afraid that Germany might intervene in the Dominican Republic occupied the country.

- 1924: Horacio Vasquez becomes President of D. R. 

- 1930: Rafael Trujillo staged a coup and became a dictator. Trujillo ruled Dominican Republic for 31 years till he was assassinated in 1961. 

- 1962: Free elections followed by military coups followed by US intervention

- 1966-1978: Joaquin Balaguer is elected President with some economic stability

- After two other presidents, Balaguer reelected again from 1990 to 1996 when he is forced to step down and be replaced by Leonel Fernandez of the opposition. Today's president is Danilo Medina, of the Dominican Liberation Party

Homework for April 26 - Otravida Otravez by Junot Diaz

Answer one of the following:

1. What are the main stylistic features of the narratorial voice, in your opinion?

2. Do you find any symbolism in the narrator's profession? If so, explain.

3. How do you account for the title?

A Walk with Thoreau