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    Cool Brains

    The mother of Hunger Games disaster lit laments the loss of imagination: LoisLowry unplugged

    Tarra Gaines
    Oct 14, 2012 | 6:48 am
    • Son by Lois Lowry
    • Author Lois Lowry
      Photo by © Matthew McKee

    What would people give up if they could achieve a society without poverty, hate, war, or crime? Would the loss of music, colors, love, choice and memories, both lovely and horrific, be worth living in that seemingly perfect world, or would those losses turn a utopia into a dystopia?

    Such are the types of questions asked by the Newbery award-winning children’s book The Giver, a novel for kids that has been lauded and assigned in hundred of school districts across the country and challenged and banned in others. The Giver’s author, Lois Lowry, has just completed Son, her fourth and final book in the series, and will be in Houston for Inprint’s Cool Brains reading series Sunday afternoon to meet with her many fans both young and old.

    "There was a time some years ago when kids were willing to be forced to use their own imagination and that seems less true now."

    Lowry has been writing children’s books for more than three decades, so when I had a chance to talk to her before her Houston visit I had to ask about her audience. Do the kids of this generation want and need the same kind of stories they did when she first began writing?

    Her answer is decidedly no.

    “They want faster paced books," she says. "They want action and they want things spelled out. They don’t like, for example, the ambiguity of the ending of The Giver. There was a time some years ago when kids were willing to be forced to use their own imagination and that seems less true now.

    "I’m over generalizing, of course, but they want things told to them. I suppose that has to do with technology. They’re just so accustomed to having information come at them all the time that when something forces them to slow down and think . . . they don’t necessarily like that."

    Dystopias for Kids

    This change in kids might also be the reason for the popularity of dystopian novels, like The Hunger Games series. With the publication of The Giver in 1993, Lowry became the forerunner, or perhaps the mother, of the dystopian trend, but she thinks it will eventually fade like vampire books before it.

    Yet, she also thinks there might be a reason kids gravitate towards these novels.

    Recalling her own childhood growing up during WWII, she says her father served in the Pacific, so of course she was aware of the war, but she was never bombarded by the images of it like children today see of their own torn and strife-filled world.

    “Kids are not exempted from knowing the terrible things that my contemporaries and I were protected from as children because of the media being less of a presence in our lives," Lowry says. "I think the fact the kids are being forced to think about what the world will be like as they grow into it is perhaps the reason they’re interested in speculative fiction, books about a future world that they’ll be part of."

    Lowry doesn’t believe that kids want to actually live in those dystopian worlds, but that kids do believe they can change what’s wrong with our own world.

    “Nobody these days, whatever age they are, is unaware that there’s a lot of things wrong in our poor world," she says. "I think kids are very much aware of that, but I think that kids are optimistic. They believe, as they should, that they’re going to grow up and they’re going to be educated and learn stuff and they’re going to do better than the last generation.

    "And maybe that’s true. I guess one has to hope that’s true."

    Moments of Recognition

    Like The Giver’s protagonist Jonas, Claire in Son, a 14-year-old assigned the role of birth mother in the Community, begins to recognize that there is something wrong with this community. It is only with that recognition that these young heroes can make changes, but it also proves to be an agonizing loss of innocence when they realize that the safety and security they knew in the world is all a facade.

    “Nobody these days, whatever age they are, is unaware that there’s a lot of things wrong in our poor world. I think kids are very much aware of that."

    When I make this observation to Lowry, she acknowledges there was probably some truth to it and notes: “It’s probably not surprising that in that particular series of books each protagonist is at the age of entering adulthood. I think with that age of entering, and that entrance into, the world of adults comes a sort of recognition of responsibilities. I think it’s my favorite age to write about for that reason.

    "A boy that age, like the boy in The Giver, is still a child at the same time he’s beginning to become a man. It’s such a complicated age and very interesting to me.”

    Much of Son tells of Claire’s journey and what she will sacrifice to unite with her son once he is taken away, like all “products” are taken from “vessels” in the Community.

    Lowry wrote an autobiography in 1998 and in her many speaking engagements and interviews, she has been open about the fact that part of the inspiration for writing Son came from the death of her own son Grey, a U.S Air Force pilot who died in a plane crash in Germany only a few years after the publication of The Giver.

    When I ask her if she is the type of writer who takes some comfort in sharing her real life with the readers of her imagined worlds, she tells the story of an actor friend who sent her a simple quote from Macbeth when he heard about her son’s death: "Give sorrow words: the grief that does not speak/Whispers the o'er-fraught heart, and bids it break."

    “I think that’s an important thing to speak of our strong feelings,” she says, “And of course that relates to The Giver where people have no strong feelings to speak about with each other because they’re so deeply repressed because of the way they’re been programmed. So I do think it’s an important thing to speak about what we undergo.”

    Fans old and young can speak with Lois Lowry 3 p.m. on Sunday at Johnson Middle School.

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    Cat Lady Chronicles

    Portrait of a Cat Lady: Author Diane Lovejoy chronicles a life of art and furryfelines

    Tarra Gaines
    Nov 12, 2012 | 10:30 am
    • Author Diane Lovejoy and one of her precious cats
      Pinterest.com
    • Diane Lovejoy's Cat Lady Chronicles combines her two passions: art and furryfelines.
      Courtesy Photo
    • Diane Lovejoy and her father in Jackson Square in 1957. Even as a youngster, sheloved cats.
      Courtesy Photo

    Worshiped in ancient societies and now the demigods of the Internet, cats have always fascinated us. Yet being a woman who owns multiple cats can sometimes invite the occasional joke or insult that she has become a "cat lady." In the new book Cat Lady Chronicles, Houston writer Diane Lovejoy sets out to paint a new portrait of who a cat lady really is.

    Lovejoy, the director of publications at the Museum of Fine Arts, Houston, has been part of the art world longer than the cat world. In the book, she combines those worlds, just as she has in life.

    In the new book Cat Lady Chronicles, Houston writer Diane Lovejoy sets out to paint a new portrait of who a cat lady really is.

    It is a memoir of how Lovejoy and her husband Michael rescued one cat and after several years of these stray "little creatures" pressing their faces to the glass of their back door, found themselves the happy cat lady and cat gentleman who head a 10-cat household.

    It is illustrated with images of cats rendered by artists from Renoir to Kahlo to Chagall. Seventeen of the works in the book are from the MFAH’s own collection and are seldom on view.

    CultureMap recently sat down with Lovejoy to talk cats, art, and the art of being a cat lady.

    CultureMap: Throughout the book you use the term cat lady almost as if it were a calling or title. Is it?

    Diane Lovejoy: I think that it’s both. I call myself "cat lady" and that’s a nickname I gave myself when we started on this process of rescuing all these cats. But I think it is a calling to serve others whether they be cats, or whether it’s my case, at work, the museum curators, or whether it’s volunteering. The people who feel there’s a need to serve others, in whatever capacity that might be, see it as a calling.

    It’s a term that has typically had a bad rap, but what is so bad about being passionate about animals and being committed to caring for them?

    It’s a term that has typically had a bad rap, but what is so bad about being passionate about animals and being committed to caring for them? Typically people think of cat lady as someone who may be hoarding and with all those reality shows about hoarding what is that line of demarcation between acquiring cats and hoarding them? But I am proud to wear the badge and if it’s a title, I’m OK with that.

    CM: What are the responsibilities and rewards of being a cat lady or cat gentleman?

    DL: I think the responsibilities are to make sure the cat is healthy. You’ve got to be very attentive to their care. Scooping the litter boxes is one of the fatiguing responsibilities. Spending time and caring for them.

    In terms of the rewards, it sounds like a cliche but they really are infinite. The cats give unconditional love. I love getting home especially if I’ve had a tough day and there they are with no judgments, just waiting for me to come home.

    CM: People sometimes say that it’s dogs that provide unconditional love with no judgment, and cats are more aloof, but you think that’s true about cats as well?

    DL: I think that it is. Cats have more of that silent, looking you up and down, way about them. I think when you are interactive with them it becomes a completely different story. With ours we socialize them to the extent that they really are our fur kids.

    CM: What was your objective in writing the book? Did you want to change perceptions of what a cat lady is?

    DL: If I had to define the publishing rational, I wouldn’t say I was out to champion the brand of the cat lady, but I hope I do do that so people might think: "I, too, am a cat lady," and it’s not an embarrassment anymore. It was really to tell a feel-good story about unconditional love.

    I thought that my perspective on being a cat lady might be a little bit different in terms of trying to bring in my working life in the art world. Herding cats is easy; herding museum curators maybe not so much. But the two worlds began to compliment each other.

    CM: Why was it important to weave art into your story?

    DL: I thought really this explosion of cats in my life could be paralleled by opening the book and all of a sudden there are these colored plates of images of cats. I had so much fun doing the photo research for the cats because it was like bringing together cats again from different streets in the Montrose area, cats from all over the art world from different collections coming to life together.

    CM: Why have some artists been so fascinated by cats?

    DL: Cats are who they are, sort of like artists are. They’re soulful creatures. They’re beautiful. It’s true since ancient times artists have always depicted cats. They were way ahead of the Internet in championing their cause.

    CM: There are times in the book where you make the comparison between being a collector of art and being a collector of cats. Is the desire to collect art similar to the need to help, and perhaps even collect, cats?

    DL: I try to be careful and explain that I do understand the distinction that the world in which I work is about collecting inanimate objects. Of course the artist’s hand is evident, and the works are informed by the artist’s spirit and so forth, but ultimately these are objects that can be picked up and hung, but with a cat it’s sustained care.

    I had begun to wonder by collecting—so to speak—cats, was it because I’m surrounded by this acquisitive environment, and could I justify this process by thinking I’m a collector? But really, I know that collecting art and collecting cats are two different things. I’m collecting living creatures and bringing them into an environment where they not hung on walls; they’re a part of our life and they’ve become vital to our existence.

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