Author, book doctor, raker of muck

David Henry Sterry

Category: Blog Page 2 of 7

Mort Morte: “One Wild Ride…Hilarious”

To buy Mort Morte click here.

mort morte coverx3000w“It’s fall now and the season for amusement parks may have drawn to a close but if you’re looking for one wild ride, you could do a lot worse than pick up Mort Morte by David Henry Sterry. By turns absurd, hilarious and tragic, this fairly quick read tells the story of Mordechai Murgatroyd Morte, a young man who follows his mother through her unfortunate marriages to several physically and sexually abusive men.

The novel begins with these lines: “On my third birthday, my father, in an attempt to get me to stop sucking my thumb, gave me a gun. ‘Today, son, you are a man,’ he said, snatching the little, blue binky from my little, pink hand. So I shot him.”

Although the abusive element is merely hinted at in the character of Mort’s father here (who gives his three-year-old son a gun?), the farcical quality is immediately apparent and sets the tone for Mort’s experiences with his mother’s future and more clearly terrible husbands. As she moves from conjugal attachment with one man and then another, Mort ultimately finds new ways of ridding himself and his mother of their nonsense by acts of gruesome murder.

As Mort advances into his teenage years and moves to Rome, Texas so that his mother may tie the knot with Billy Bob Bobby Joe Willy Dick Bodine (BB, for short), the first hint of Mort’s own intense sexuality emerges in a lusty relationship with Muffy Thunderbuck, his school’s goddess of beauty and sensuality. “In out, in out,” Sterry writes in multiple consecutive paragraphs, representing the relationship in absurdly physical terms, which reflects equally on the emotional hollowness of the men brought into his life by his poor “milky” British mother.

Cleverly, however, into the apparent hollowness of the prose one can read some of the most serious of childhood traumas–vulnerability, helplessness at the hands of abusive adults and the kind of resilient self-reliance that is the sanctuary for young men lacking the benefits of a stable household. Both socially awkward and intellectually brilliant (the latter quality of which captured Muffy’s heart, or did it capture her legs?), Mort becomes the dreaded agent of his mother’s constant widowhood and also her savior as he rids her time and again of negligent, angry men.

The novel seems to reflect the story of a sensitive young man and his mother struggling to survive in a tough, unforgiving world. The final irony of the story, however, occurs after Mort, having blown up his mother’s latest beau, Bartholomew Dinsdale Dinkleberry, with a vial of nitroglycerine, finds that he and his mother will be kicked out of Rome. Following a self-pitying visit to Muffy Thunderbuck for some physical “comfort”, Mort returns home to find his mother has slipped out of town, stating in a note she has left behind that she has moved ahead and will “find a good boarding school for bright young people who don’t quite fit in, which we all know you are, pet, and you will join us later. Everything will be fine, most likely.”

Only, Mort knows nothing will be fine. His mother, he realizes in an instant, is in many ways the cause herself of so much grief and self-destruction in submitting to the abusive routines of so many bad men. Whereas Mort always believed in his goal to protect, he now–at the moment of maternal abandonment–realizes it was her destructive personality which, aside from earning her a great future through the wealth of one now-dead husband, has callously prompted her to leave behind an awkward son.

The monumental irony then is upon the discovery of abandonment. If children are often seen as wild uncontrollable creatures, their adult counterparts fare far worse in this writer’s treatment. Mort Morte is the engaging and unusual story of a young man who finds the one person to whom he is most devoted to be the primary agent of his worst suffering.” – Joe Kovacs

Tripping the Light Fantastic, or How I Learned to Play Hockey on Acid

At 16 I’m shipped away to Boarding School for my sins.  The school is full of bright, gifted, spindled, folded, and mutilated teenagers, almost all of whom have been kicked of at least 1, if not several, other institutions of learning.  Believe me, I fit right in at Boarding School.

darrow lacrosseWe have the worst hockey team in the history of the league.  Our first game we get beat like 31-1.  Do you have any idea how difficult it is to let in 31 goals in 30 minutes?  Any way you do the math, that’s over a goal a minute, ladies and gentlemen.  The best player on the team is Joe Skyfeather.  We call him Joe Starfucker, and he likes that.  He’s our goalie.  A great goalie.  After every game he’s one huge Iriquois welt.  He says if he wasn’t a hopeless Indian drunk already, he’d have to start drinking heavily.   The one good thing about losing 31-1 is that when you score that 1 goal, man, you celebrate hard.

Half-way through our season, we’re 0-5.  We’ve scored 4 goals, while allowing about, I don’t know, maybe a kazillion.  We’re going to play our sixth game, on the road, against Andover, 1 of the hoitiest of the toity prep schools in America.  As we’re getting ready to leave, Rat comes in all excited.  He’s just scored some acid from his brother who’s out on parole and laying low in Rat’s room.  I’ve never taken acid at this point, but the word from Rat’s brother is that this is the trippiest shit he’s ever seen.  And apparently he’s seen some pretty trippy shit.  And there’s enough for everybody.    Rat whips it out.  I’m expecting some bubbling liquid in a laboratory beaker, with smoke and prisms and colored lights.   But no.  It’s just an 8 x 10 sheet of paper.  He peels something off, and with an impish grins, places it on his tongue and downs it.  He holds it out for us to join him.  Everyone sits and stares.

“Come on, you sorry bunch of pansy-asses.  We gotta go show those rich bitches what it means to be play this game with a head full of the trippiest shit in the Berkshire Mountains.  We gotta show the world that we may be the worst hockey players in history, but we’re the all-time greatest partiers.  We gotta let our freak flag fly, man!’

Rat’s speech stirs something within me.  In all of us.  We’re castoffs, misfits, the throwaways of our generation.  And suddenly we’ve got a shot to go down in school history, turn ourselves from laughing stock into folk heroes, talked about around campfires for generations to come.

Still, no one wants to be the first to follow Rat down the road to Infamy.  Eyes are averted.  Feet shuffled.  Harrumphs abound.

It’s times like this that turn boys into men.  While us white suburban bourgeois laddies sit with our thumbs up our collective ass, it takes a young brave from the reservation to lead us.  A boy warrior whose ancestors have been raped and pillaged, lied to, deceived, mocked, vilified, burned out of the land they loved, hunted down and destroyed like vermin.   Joe Starfucker.  He rises slowly, a beat-up rented mule of a goalie with long, straggly scraggly raven hair.   He walks with the weight of the ages to Rat and sticks out his tongue.

hanson_brothersRat grins like Jack Nicholson in The Shining.

“Yeah baby, that’s what I’m talkin’ about.  Joe Starfucker, you are the man!”

Joe closes his eyes and crosses himself, while Rat places the tab on his tongue like he’s giving Holy Communion.  When Starfucker swallows, everybody whoops and hollers.   Rat then dispenses the rest of the acid like he’s High Priest of the Order of Psychedelic Hockey, a cross between the Pope, Timothy Leery and Wayne Gretsky.

Beevo, Nevs, Harry the Hoagy, Fat Phil, Dougy the K, even Lurch, all gobble down their medicine.

When my turn comes, I’m shocked to find out that the tab of acid is actually a thin little transparent Mickey Mouse.  I smile as I swallow my electric Disney coolaid, visions of Snow White and her freaky dwarves stoned off their nuts, as Jimi Hendrix wails “Some Day My Prince Will Come” in the background.

It’s quiet on the bus to the game.  Scary quiet.  Everyone’s bugging eyes at each other, trying to see if anything’s happening, wondering if this really is some trippy shit, and if it is, what it will be like trying to play hockey against the masters of the universe Andover superstars while we’re massively loop-de-looped.

Then suddenly  we’re pulling into Andover.  You can smell the money.  At least I think that’s what the smell is.  The dorms are all swanky swank swank.  The grounds are manicured to within an inch of their strangulated lives.  The boys are wearing their spiffy little blue blazers, and their spastic little tassley shoes with their dorkadelic little preppy haircuts.  If you weren’t high on some trippy shit already, looking at all these Young Republican bootlickers-in-training would make you go all wavy gravy in a New York minute.

I’m still not feeling any effects, and frankly I’m beginning to wonder whether Rat’s brother sold us all a bill of goods, as we troop into the Taj Mahal locker room, looking at each other for any tell-tale signs of synaptic scramble.

lsdNot a word is spoken as we don the tools of ignorance necessary for us to get the inevitable ass-whupping we are about to take.  Our coach, Mr. Clament, the Clam, a besotted French teacher, senses something is amiss.  He clears his drunken throat, and launches into a Win-One-For-the-Gipper speech.

About half-way through the Clam’s speech, his face starts melting, his tongue flicks out like an iguana, and his eyes spring loose from their sockets like those eyeball glasses that hang down and wobble when you move your head.  His nose spreads out like Silly Putty smushed as his eyebrows do the Australian crawl across his face.  His lips are wax candy and his teeth are changing colors like the Wizard of Oz’s horse: red to green to blue to orange.

I shake my head to try and clear it, but that just makes little fireworks with tails shoot across the inside of my eyeballs in wonderful waving watercolors.

I look around. Everyone’s shaking their head, eyes covered with potter’s glaze, like a flock of sheep who’ve just been converted to Christianity.

The Clam reaches his drunken crescendo, expecting a rousing jolt of competitive manchild testosterone.  Nothing.  We just sit there, staring like big mouth bass, tripping our little brains out.  He’s dumbfounded, and decides his next logical move is go into the bathroom and drink, so he shrugs, turns, and disappears into the bathroom to drink.

“Is this some trippy shit or what?”   Rat pops his eyes out of his head and rolls them around, and the laugher lets loose – KABANG! – and we chortle like whacked-out bobbing head dolls.

The Andover superstar uniforms are shiny and new as the masters of the universe prepare to use us as the tools of their athletic glorification.  They look like bourgeois marionettes to me, stooge puppets of the paramilitary fascist state.  The thought of cutting their strings and watching them crumble cracks me up, and I catch an edge of my skate on the ice, tumbling down, and sliding headfirst into the boards with a loud crash.  The game hasn’t even started yet, and I’ve already checked myself.  Our whole team stops their pitiful warm-up, stares at me, and gets the giggles, tittering like schoolboys, kids in the stands pointing fingers and laughing at us, Andover superstars glaring with smug, condescending menace.

slide_294923_2397851_freeThen suddenly the game is starting, and the crowd shape-shifts, all beautiful fuzzy colors that only make sense when you look at the whole thing from a distance.  When I focus on any one person, the face seems to disintegrate and lose focus.  Or maybe it is me who’s disintegrating and losing focus.  Hard to say for sure.  The referee looks like a big fat zebra.  I chuckle thinking about the lion waiting for him at the watering hole after the game.

The puck takes about six weeks to drop from the fat Zebra’s hoof to the ice.  I discover I don’t have to move my legs to skate.   I float over the ice like an angel on a wave of feathers.  Beevo is winning the face-off now, and the puck shuffles back to me.  It takes its sweet time.  It realizes time is sweet.  I stop it with my stick, which bends and waves in my hands.  An Andover superstar rushes headlong at me, snarling like an overbred hound from hell, but moving in slow motion.  I sidestep him with the greatest of ease.  I have to stop myself from laughing it’s so much fun.  My bones are almost-congealed jello, my skin tingles with the fire of Godlove, and my third eye is wide open.  I see Harry the Hoagy streaking with trails like a comet up-ice and I can see the line the puck will travel to get to him before I even make the pass.  So I flick my stick and the puck goes on that exact line, like a geometry equation only I can see.  As if Harry the Hoagy and I are connected by a Higher Power.  The puck nestles gently on The Hoagy’s stick.  He cuts between the two Andover behemoth superstar defensemen and suddenly he’s 1-on-1 with the master of the universe goalie, face to mask, stoned off of his nut.  Harry the Hoagy starts to go right, the goalie bites, Harry changes his mind, slides the puck onto his backhand and eases it into the gaping mouth of the goal like Casanova scoring with the Queen of France.

We stop.  The crowd is all stunned silence.  The Andover superstars flabbergast.  Then it dawns on us.  We scored a goal.  We’re ahead for the first time the whole year.  We free-form to Harry the Hoagy and do a group hug interpretive dance celebration, Fosse meets Bullwinkle.  The fat Zebra has to come get us to re-start the game.  We’re too busy celebrating.  We’ve never celebrated being ahead in a game before, and we have no idea how it’s done, or when it’s supposed to be over.

The whole game is like that.  Lurch hits a guy so hard he airlifts him up off the ice and knocks out his whole family.  Rat is a whirling dervish, breaking up plays, leading rushes, poke-checking guys who aren’t even there.  Fat Phil is a man possessed, moving like one of those graceful hippo ballet dancers in tutus from “Fantasia”.  And Joe Starfucker,a well, Joe plays the game of his life.  Stick saves, pad saves, glove saves.  At one point he makes a save, and his glove flies off.  The puck rebounds right back to an Andover superstar, and he fires again.  Joe Starfucker reaches out and catches that puck with his bare hand.  This time even the Andover superstar crowd has to give him a big ovation.  They don’t want to, you can tell.  They have to.  He holds the puck over his head, he’s showing it the Great Puck Spirit, then bows deeply, as if he’s a Japanese kabuki actor.

largeLate in the game, the Andover superstars manage to sneak one by Joe Starfucker, after they roughed him up in the crease, which as anyone who’s ever been roughed up in a crease knows, is nasty business, and strictly illegal to boot.  The game’s winding down, and the Andover superstars are sharks who’ve smelled blood.  But the acid still floods our collective brains with the power and beauty of Mother Earth and Father Sky, and we match the superstars hammer for tong.

There’s a minute left to play.  We to get a face-off deep in superstar territory.  Beevo takes the face-off, the puck falling like a big black penny from heaven.  Beevo flicks it easily back to Lurch at the point.  Lurch winds up and takes a Paul Bunyon swing at it.  However, he mostly misses, catching the puck on end so it flutters like a drunken butterfly toward the net.  The Andover superstars are caught off-guard.  They’re expecting a bullet, clenched and moving towards the upper left corner of the goal, where it is happily headed.

I see the puck fluffernutting towards me, getting bigger and bigger as it calls my name:

“Here I come, David – here I commmmmmme…”

I see myself gently flicking the puck, caressing it lightly like a well-loved lover past the Andover superstar goalie.  So I reach up with my wavy stick and kiss the crazy gyrating puck with it.  The Andover superstar defensemen and goalie are already off-balance because it is loop-de-looping instead of shotgunning, and when I flick it, the puck tumbles down and right, leaving them grasping at air straws.

Gently lovingly it bulges pillowy into the billowing netting of the goal.

The buzzer sounds.

BUZZZZZZZ!

The game is over.

The silence sits on the ice like the gods have pushed the mute button.

David has slain Goliath.  Not with a stone and a slingshot, but stoned with a headful of totally trippy shit.

We skate over to Joe Starfucker and jump on top of him, flopping around on the ice like a huge undulating amoebae, until they cart us off.  In the locker room our clothes jump off our bodies.  We sing in the rain of the shower, then have a wild raucous ride home.

Word of our triumph, and how achieved it, spreads like wildfire through our little community.  Of course we never win another game all year.  Never even come close.  Rat’s brother gets put back in the slammer, and that’s the end of the great Acid Experiment.

But for one glorious winter afternoon, we were one with the universe, Kings of the World, and we did it tripping the light fantastic.

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Slashed Reads Interview on Making Yourself a Better Writer by Having Lots of Great Sex

To you the interview on Slashed Reads, click here.

mort morte coverx3000wDavid Henry Sterry is the author of Mort Morte, an absurd, hilarious, tragic and disturbingly haunting comedy published by Vagabondage Press in January 2013. David is the author of 16 books and a finalist for the Henry Miller Award.

What is your book about?

On my third birthday, my father, in an attempt to get me to stop sucking my thumb, gave me a gun.  “Today son, you are a man,” he said, snatching the little blue binky from my little pink hand. So I shot him.

 So begins my novel Mort Morte.  It’s a macabre coming-of-age story full of butchered butchers, badly used Boy Scouts, blown-up Englishman, virginity-plucking cheerleaders, and many nice cups of tea.  Poignantly poetic, hypnotically hysterical, sweetly surreal, and chock full of the blackest comedy, Mort Morte is like Lewis Carroll having brunch with the kid from The Tin Drum and Oedipus, just before he plucks his eyes out.  In the end though, Mort Morte is a story about a boy who really loves his mother.

Is the book based on events in your own life?

Strangely enough, Mort Morte was my attempt to tell my life story. Fortunately, I didn’t kill my father on my third birthday. But my real life story is even more sick and deranged. Eventually I did tell my agent about my real life story and she urged me to write a memoir. This became Chicken: Self-Portrait of a Young Man for Rent. The 10 Year anniversary edition of that book has just been released. As a result Mort Morte got put on the back burner. For 20 years. That’s why I was so excited when Vagabondage agreed to publish the book. 20 years is a long time to go between writing a book and getting it published.

What twists did the book take that surprised you?

The first twist came when I wrote the first sentence.  Honestly, as I said, I was trying to tell my life story, and the first sentence just came out fully formed.  I have no idea how or why.  Clearly I must have some sort of repressed desire to shoot my father.  Fortunately I have been able to repress that desire.  For now anyway.  Actually, the whole book was a series of twists.  I didn’t plan it out or outline it or plot it in any way shape or form.  It just came flowing out of me.  The first draft took me three weeks to write.  Mind you it took me over a year to revise and edit the book.

But it was almost like being in a fever dream.  It just kept pouring out.  All I had to do was get out of the way.

 Are you a people watcher? If so, are they in your stories?

Absolutely.  I learned most of the things I know about humans by watching them.  I was a professional actor for 15 years before I wrote my first book, and I spent a lot of that time learning how people walked, talked, what they were saying with the language of their body, what was being communicated between the lines.

I moved around a lot when I was a kid, I never went to the same school for two years in a row until I was in college.  So I was always the new kid, the outsider, the person who didn’t have friends.  So I watched.  I observed.  I learned how to act like everybody else.  And whenever we moved, I learned how to imitate the local accent.  It was great training as an actor.  It was also great training as a writer, to get the rhythms of the way people really speak.

One of my pet peeves is when you can actually hear the writer writing as a character in one of their books is talking. Almost all the people in my books are human beings I have observed.  When I’m writing a memoir of course I try to remember exactly what they said, exactly what they looked like and exactly how they acted.  When I’m writing a piece of fiction I take what’s there and let my imagination run wild.  Either way, it starts with the way people really look and talk and act.

 Do you consider yourself an introvert or extrovert?

Yes.  I am a Gemini.  But I don’t really believe in all that astrological crap.  Even though that’s exactly what a Gemini would say.  But as a Gemini I have two very distinct parts of my personality.  I’m a hermit and I love holing up in my man cave and escaping into my imagination.  Woody Allen once said the only things in life you can really control are art and masturbation.  I try to keep my fingers in both those pies every day, in the privacy of my subterranean lair. But I’m also kind of an exhibitionist, and I love to go out and do book events and go on tour and present at writers conferences and book fares.  So I kill both birds with just the one stone.

What are our thoughts on writing as a career?

In addition to being the author of 16 books I’m also a book doctor.  I help talented amateurs become professionally published authors. So I’ve consulted with literally thousands of writers.

And I tell them all that by far the most important thing you can do if you want to have a career as a writer is to figure out how to make money.

It’s very hard to make money as a writer.  I’ve been lucky in that way. But I’m also a hustler.  That’s one of the things I learned in the sex business.  How to hustle.  Lots of writers don’t know how hustle. Let me be clear, I don’t mean hustle as a way of scamming, grifting, or ripping someone off.  I mean hustle in the sense that you get someone to do what you want them to do.

I want publishers to give me money for my books.  So I identify which publishers I want to work with who are most compatible with what I do, then I research them to the point of stalking.  And of course I want readers to buy my books and fall in love with them.  So I identify individuals and groups who I think will love what I’m doing and be passionate about my books.

As is the case with all hustles, you actually have to have Game.  You have to make a good product if you want someone to buy it over and over again.  If you try to pull the wool over someone’s eyes, eventually they will stop buying what you’re selling, and in the worst case scenario they will come at you with a lead pipe and try to split your skull open.

The great maxim of businesses as far as I’m concerned is: “Find out what people want, and give it to them.”

Mind you, I have books that I write for love, and books that I write for money.  Mort Morte was more of a love book.  That being said, I have made money off it.

What is your advice for other writers?

Research.  Network.  Persevere.  And oh yeah, write.  Write, write, write, write, write, write, write, write, write, write, write, write, write, write, write, write, write, write, write, write, write, write, write, write, write, write, write, write, write.

 What inspired you to write your first book?

I was a drug addict and a sex addict and I knew I was going to die unless I changed who I was and what I was doing.  After a long search I finally found a hypnotherapist.  She helped me get my addictions under control.  I was a professional screenwriter in Hollywood at the time.

My hypnotherapist suggested I write about my life, since it was so much more interesting than the stupid ridiculous screenplays I was selling to Hollywood.  I took her advice.

I found I really enjoyed it.  And it was absolutely essential in staring down and overcoming the demon monkeys inside me which were destroying my life.

 What do you want to say to your readers?

Buy my books.  Tell your friends to buy my books.

 How do you prepare to write love scenes?

Fall in love.  Have lots of great sex.  Have lots of bad sex.  Get dumped.  Rinse.  Repeat.

Author Profile

David Henry Sterry

David Henry Sterry is the author of 16 books, a performer, muckraker, educator, activist, and book doctor.

His new books are Mort Morte, and The Hobbyist (Vagabondage, 2013).

His memoir,Chicken Self:-Portrait of a Man for Rent, 10 Year Anniversary Edition has been translated into 10 languages.

He’s also written Hos, Hookers, Call Girls and Rent Boys: Professionals Writing on Life, Love, Money and Sex, which appeared on the front cover of the Sunday New York Times Book Review.

He is a finalist for the Henry Miller Award.

He has appeared on, acted with, written for, been employed as, worked and/or presented at: Will Smith, a marriage counselor, Disney screenwriter, Stanford University, National Public Radio, Huffington Post, a sodajerk, Michael Caine, the Taco Bell chihuahua, Penthouse, the London Times, Edinburgh Fringe Festival, a human guinea pig and Zippy the Chimp.

Crators Win Montclair Championship

My team won the Montclair championship today, swept 3 games. i pitched all 3 i am fucking exhausted & way 2 happy

craters 2

Jerry Stahl on Chicken: “Alternately sexy and terrifying, hysterical…a coming-of-age classic”

“Alternately sexy and terrifying, hysterical and weird, David Henry Sterry’s Chicken is a hot walk on the wild side of Hollywood’s fleshy underbelly. With lush prose and a flawless ear for the rhythms of the street… a coming-of-age classic that’s colorful, riveting, and strangely beautiful. David Henry Sterry is the real thing.”

— Jerry Stahl, Permanent Midnight
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To buy Chicken click here.

I walk all the way up Hollywood Boulevard to Grauman’s Chinese Theatre: past tourists snapping shots; wannabe starlets sparkling by in miniskirts with head shots in their hands and moondust in their eyes; rowdy cowboys drinking with drunken Indians; black businessmen bustling by briskly in crisp suits; ladies who do not lunch with nylons rolled up below the knee pushing shopping carts full of everything they own; Mustangs rubbing up against muscular Mercedes and Hell’s Angels hogs.

It’s a sick twisted Wonderland, and I’m Alice.

 

This is the chronicle of a young man walking the razor-sharp line between painful innocence and the allure of the abyss. David Sterry was a wide-eyed son of 1970s suburbia, but within a week of enrolling at Immaculate Heart College, he was lured into the dark underbelly of the Hollywood flesh trade. Chicken has become a coming-of-age classic, and has been translated into ten languages. This ten-year anniversary edition has shocking new material.

 

“Sterry writes with comic brio … [he] honed a vibrant outrageous writing style and turned out this studiously wild souvenir of a checkered past.” – Janet Maslin, The New York Times

“This is a stunning book. Sterry’s prose fizzes like a firework. Every page crackles… A very easy, exciting book to read – as laconic as Dashiell Hammett, as viscerally hallucinogenic as Hunter S Thompson. Sex, violence, drugs, love, hate, and great writing all within a single wrapper. What more could you possibly ask for? -Maurince Newman, Irish Times

“A beautiful book… a real work of literature.” – Vanessa Feltz, BBC

“Insightful and funny… captures Hollywood beautifully” – Larry Mantle, Air Talk, NPR

“Jawdropping… A carefully crafted piece of work…” -Benedicte Page, Book News, UK

“A 1-night read. Should be mandatory reading for parents and kids.” -Bert Lee, Talk of the Town

“Alternately sexy and terrifying, hysterical and weird, David Henry Sterry’s Chicken is a hot walk on the wild side of Hollywood’s fleshy underbelly. With lush prose and a flawless ear for the rhythms of the street, Sterry lays out a life lived on the edge in a coming-of-age classic that’s colorful, riveting, and strangely beautiful. David Henry Sterry is the real thing.” –Jerry Stahl, author of Permanent Midnight

“Compulsively readable, visceral, and very funny. The author, a winningly honest companion, has taken us right into his head, moment-by-moment: rarely has the mentality of sex been so scrupulously observed and reproduced on paper. Granted, he had some amazingly bizarre experiences to draw upon; but as V. S. Pritchett observed, in memoirs you get no pints for living, the art is all that counts-and David Henry Sterry clearly possesses the storyteller’s art.” – Phillip Lopate, author of Portrait of My Body – Phillip Lopate, author of Portrait of My Body

“Like an X-rated Boogie Nights narrated by a teenage Alice in Wonderland. Sterry’s anecdotes… expose Hollywood at its seamiest, a desperate city of smut and glitz. I read the book from cover to cover in one night, finally arriving at the black and white photo of the softly smiling former chicken turned memoirist.” -Places Magazine

“Snappy and acutely observational writing… It’s a book filled with wit, some moments of slapstick, and of some severe poignancy… a flair for descriptive language… The human ability to be kind ultimately reveals itself, in a book which is dark, yet always upbeat and irreverent. A really good, and enlightening, read.” – Ian Beetlestone, Leeds Guide

“Brutally illuminating and remarkably compassionate… a walk on the wild side which is alternatively exhilirating and horrifying, outrageous and tragic… Essential reading.” – Big Issue

“Visceral, frank and compulsive reading.’ –City Life, Manchester

“Sparkling prose… a triumph of the will.” -Buzz Magazine

“Pick of the Week.” -Independent

“Impossible to put down, even, no, especially when, the sky is falling…Vulnerable, tough, innocent and wise… A fast-paced jazzy writing style… a great read.” -Hallmemoirs

“Full of truth, horror, and riotous humor.” -The Latest Books

“His memoir is a super-readable roller coaster — the story of a young man who sees more of the sexual world in one year than most people ever do.” – Dr. Carol Queen, Spectator Magazine

“Terrifically readable… Sterry’s an adventurer who happens to feel and think deeply. He’s written a thoroughly absorbing story sensitively and with great compassion… A page-turner… This is a strange story told easily and well.” – Eileen Berdon, Erotica.com

“Love to see this book turned into a movie, Julianne Moore might like to play Sterry’s mum…” – by Iain Sharp The Sunday Star-Times, Auckland, New Zealand).

NPR Interviews David Henry Sterry on Chicken: “Insightful and funny… captures Hollywood beautifully…”

Larry Mantle, Air Talk, National Public Radio, on Chicken:

“Insightful and funny… great stories… captures Hollywood beautifully…”

To listen to interview click here.

To buy Chicken click here.

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I walk all the way up Hollywood Boulevard to Grauman’s Chinese Theatre: past tourists snapping shots; wannabe starlets sparkling by in miniskirts with head shots in their hands and moondust in their eyes; rowdy cowboys drinking with drunken Indians; black businessmen bustling by briskly in crisp suits; ladies who do not lunch with nylons rolled up below the knee pushing shopping carts full of everything they own; Mustangs rubbing up against muscular Mercedes and Hell’s Angels hogs.

It’s a sick twisted Wonderland, and I’m Alice.

 

This is the chronicle of a young man walking the razor-sharp line between painful innocence and the allure of the abyss. David Sterry was a wide-eyed son of 1970s suburbia, but within a week of enrolling at Immaculate Heart College, he was lured into the dark underbelly of the Hollywood flesh trade. Chicken has become a coming-of-age classic, and has been translated into ten languages. This ten-year anniversary edition has shocking new material.

 

“Sterry writes with comic brio … [he] honed a vibrant outrageous writing style and turned out this studiously wild souvenir of a checkered past.” – Janet Maslin, The New York Times

“This is a stunning book. Sterry’s prose fizzes like a firework. Every page crackles… A very easy, exciting book to read – as laconic as Dashiell Hammett, as viscerally hallucinogenic as Hunter S Thompson. Sex, violence, drugs, love, hate, and great writing all within a single wrapper. What more could you possibly ask for? -Maurince Newman, Irish Times

“A beautiful book… a real work of literature.” – Vanessa Feltz, BBC

“Insightful and funny… captures Hollywood beautifully” – Larry Mantle, Air Talk, NPR

“Jawdropping… A carefully crafted piece of work…” -Benedicte Page, Book News, UK

“A 1-night read. Should be mandatory reading for parents and kids.” -Bert Lee, Talk of the Town

“Alternately sexy and terrifying, hysterical and weird, David Henry Sterry’s Chicken is a hot walk on the wild side of Hollywood’s fleshy underbelly. With lush prose and a flawless ear for the rhythms of the street, Sterry lays out a life lived on the edge in a coming-of-age classic that’s colorful, riveting, and strangely beautiful. David Henry Sterry is the real thing.” –Jerry Stahl, author of Permanent Midnight

“Compulsively readable, visceral, and very funny. The author, a winningly honest companion, has taken us right into his head, moment-by-moment: rarely has the mentality of sex been so scrupulously observed and reproduced on paper. Granted, he had some amazingly bizarre experiences to draw upon; but as V. S. Pritchett observed, in memoirs you get no pints for living, the art is all that counts-and David Henry Sterry clearly possesses the storyteller’s art.” – Phillip Lopate, author of Portrait of My Body – Phillip Lopate, author of Portrait of My Body

“Like an X-rated Boogie Nights narrated by a teenage Alice in Wonderland. Sterry’s anecdotes… expose Hollywood at its seamiest, a desperate city of smut and glitz. I read the book from cover to cover in one night, finally arriving at the black and white photo of the softly smiling former chicken turned memoirist.” -Places Magazine

“Snappy and acutely observational writing… It’s a book filled with wit, some moments of slapstick, and of some severe poignancy… a flair for descriptive language… The human ability to be kind ultimately reveals itself, in a book which is dark, yet always upbeat and irreverent. A really good, and enlightening, read.” – Ian Beetlestone, Leeds Guide

“Brutally illuminating and remarkably compassionate… a walk on the wild side which is alternatively exhilirating and horrifying, outrageous and tragic… Essential reading.” – Big Issue

“Visceral, frank and compulsive reading.’ –City Life, Manchester

“Sparkling prose… a triumph of the will.” -Buzz Magazine

“Pick of the Week.” -Independent

“Impossible to put down, even, no, especially when, the sky is falling…Vulnerable, tough, innocent and wise… A fast-paced jazzy writing style… a great read.” -Hallmemoirs

“Full of truth, horror, and riotous humor.” -The Latest Books

“His memoir is a super-readable roller coaster — the story of a young man who sees more of the sexual world in one year than most people ever do.” – Dr. Carol Queen, Spectator Magazine

“Terrifically readable… Sterry’s an adventurer who happens to feel and think deeply. He’s written a thoroughly absorbing story sensitively and with great compassion… A page-turner… This is a strange story told easily and well.” – Eileen Berdon, Erotica.com

“Love to see this book turned into a movie, Julianne Moore might like to play Sterry’s mum…” – by Iain Sharp The Sunday Star-Times, Auckland, New Zealand).

The Birthing of Olive Annabell Maureen Sterry, or How My Daughter Got Born

Olive Annabell Maureen Sterry IMG_0080was determined to make an immediate splash, which she did by making her mother’s water break at five o’clock in the morning on September 11. Olive’s due date was September 5 so technically she was a week late, although obviously the due date is an artificial construct of a society that wishes to control this most uncontrollable of events. But this artificial due date would come to influence Olive’s birth in a profound and terrible. Because she was “late” she was not allowed to be delivered in a nice quiet birthing center suite with a big tub and a double bed, kind of like a cheap room in a Ramada Inn redone by Laura Ashley. This was the first in a series of maddeningly arbitrary decisions which were forced upon Olive by the hospital which made her life, and all our lives, so much more difficult, and seemed solely motivated by fear of litigation rather than the safety and well-being of Olive Annabell Maureen Sterry. So Olive had to be born in the madness of the delivery room of the hospital proper, and by the time she was born, the hallway was sick with contracting cervixes, and babies were practically flying out of uteri.

Olive’s mother basically felt nothing out of the ordinary for the 18 hours after the breaking of her water. Unbeknownst to her cervix was having a series of teeny tiny mini-contractions. I don’t know who Braxton or Hicks are, but I hope one day to have a contraction named after me. Having both seen so many movies and television shows where a pregnant woman’s water breaks, and then she has to frantically give birth in the back of a taxi, Olive’s mother and father were confused when the water so monumentally broke, a tsunami of fluids gushing willie and nilly, and then … nothing. They went to the hospital, they were examined, and were told to go home. So Olive spent the night in her mother on the day the water broke.

The next morning Olive arrived again at the hospital, and she was checked in in utero. The mother and father could not understand how this could be labor. Laughing and cracking jokes, thinking about next year’s line of mismatched socks and chilling with friends and family. Then a woman came into the hospital who was also very very pregnant. But she wasn’t laughing and cracking jokes. Pain flashed furiously out of her face as her body wracked. She was flushed and cramped, wet with mad perspiration, insane pain beaming put of her eyes. Clearly, Olive’s parents thought, there’s labor and there’s labor.

Olive’s mother was now hooked up to machines, prodded and probed, jabbed and stuck, measured and examined. A microphone was placed on her belly, and Olive’s heart was broadcast out of a speaker, while numbers appeared on a screen, and a printout spit from a computer, all synched to the heartbeat of Olive.

BOOM BOOM BOOM!

The one constant in the whole birthing process was the heartbeat of Olive. Rocksteady, pounding, it was magnificent and inspiring. Through the thick and the thin, the pushing and shoving, the tears and fears and panic and triumphant, you could’ve set your watch by Olive’s heartbeat.

BOOM BOOM BOOM!

And so they all assembled: Olive, her mom, her dad, her mother’s mother, her mother’s godmother, her dula and her midwife, with a series of nurses, technicians, doctors, drug dispensers, and the occasional cleaning person making cameo appearances. The contractions were displayed on the graph, next to Olive’s heartbeat.

BOOM BOOM BOOM!

They were small and irregular, these contractions, especially when contrasted with the heartbeat of Olive. And they stayed that way for many hours, while everyone chatted, yacked, laughed and swapped stories. It was like a party in a really depressing apartment without any music or alcohol. When Olive’s grandmother and grandfather left the contractions suddenly intensified. Olive’s mother’s eyes glazed, a dazed trance dancing on her face, her breath short, all of a sudden she wasn’t participating in the happy banter. And there on the contraction graph, a huge spike, the line jumping straight up all the way off the paper. It lasted for 30 seconds maybe, but it seemed so much longer, because it was so intense.  I lived through many earthquakes in California, and that’s kind of what it was like. An earthquake. Thirty seconds takes a month and a half to pass.  And then it was over.

IMG_1972 copyOlive’s mom had asked the midwife and the dula over and over, “When is it going to be Active Labor?” The dula turned to Olive’s mother and with dry sly wit said:

“Now it’s Active Labor.”

This new phase of quaking just kept going on and on and on and on and on and on, until time lost all meaning. But Olive still wasn’t coming out, and no one quite knew if her mother’s body was ready.  No one knew, of course, that Olive was a behemoth.  The midwife didn’t want to give an internal exam, for fear of infection, due to the fact that the water had broken so long ago. At the suggestion of the dula, Olive’s mother had been working diligently for months on the Big Ball, perfected a series of exercises which loosen the hips and pelvis. During this contraction marathon, she balanced furiously on the Big Ball, huffing and puffing and working her way through the spasms that wracked her body, telling everyone that Olive seemed to be sinking lower and lower and lower. Although at the time no one referred to Olive as Olive. Olive’s mother and father did not know Olive’s gender until they saw it. They had decided on the name Olive quite early on, but they had struggled to find a male name. Turns out they needn’t have bothered.

Finally, after too many hours of too much contracting, the midwife decided to determine how close Olive’s mother’s body was to being ready. Turns out it was not very ready at all. And by this time Olive’s mother was whipped into exhaustion, from over-exertion and powerful pain. She would start shaking, sometimes a leg, sometimes both, sometimes her whole body, violently involuntarily shaking. It reminded me of runners at the finish line of a marathon shaking uncontrollably, having lost control of their body.

The doctor wanted to cut into the belly of Olive’s mother and yank her out.  It had been too long since water had broken, and if something went wrong he and the hospital would be libel. Olive’s mother said, No, please don’t cut me.  Her father said , No, please don’t cut her.  But the clock was ticking and the doc was a picture of institutional fiduciary grimness.  Olive’s dad got so mad he wanted to punch the doctor in his smug face.  Her dad managed to repress that impulse.

The dula and the midwife took the great white doctor aside and they had an animated discussion.

olive sept. 20 040The image of the scalpel cutting into the flesh and Olive being ripped out made everyone edgy, tweaky and manic, especially since people hadn’t slept for such a long time and were freaked by the possibility that after all this, the baby could die.

After much deliberation and discussion, the doctor split and the dula and the midwife returned looked very happy with themselves.  Something was inserted somewhere to try and make the process happen more quickly. This seemed to have little effect.

After more deliberation and discussion, it was decided that a drug would be injected to induce labor. And a pain relieving epidural seemed clearly in order.

The Anesthesiologist marched in.  Crisp, meticulous and immaculate, a pin would look sloppy next to him.  He seemed to have a spotlight shining on him.  He wheeled in a large metallic box, like a magician, and laid out all his tools on its flat surface. I once worked as a fruit picker, with migrants. The way they attacked a fruit tree was a work of art. They didn’t seem to be moving that fast, but everything happened so rapidly you couldn’t follow it.  It was surreal. That’s what the anesthesiologist was like. He had a small needle inserted near the spine of Olive’s mother so quick you thought your eyes were deceiving you. Then he threaded what looked like a metallic fishing line into the hole. Or I’m assuming he did, I didn’t see it happen, all of a sudden it was just there. I don’t even think the man spoke a word. Then all of a sudden, like the Lone Ranger, he was gone without even waiting for Thank You.

Instant relief bathed the grateful face of Olive’s mom. Her face was drained of pain, fear, tension and anxiety. The contractions kept coming thick and heavy, although Olive’s mom was bearing them much more easily. But still her body was not ready for Olive to come out. So Olive’s mother slept, gathering her strength. Recharged and revived, the inducing drugs working away, the epidural was discontinued. It was time.

This is where things got freaky.  The midwife actually reached her hands into the womb and started manipulating things inside Olive’s mother. You could see Olive moving around through the thin skin, thrashing and kicking as she was sucked downdowndown into the canal as her heart beat:

BOOM BOOM BOOM!

59 hours and 45 minutes since the start of labor, the body was finally ready. The grandmother and the godmother and the husband and the dula and the midwife prepared with the mother for the final push. With the midwife’s fingers expertly manipulating inside the body of Olive’s mother, the pushing began again.  Three to each contraction.

On and on it went, with each contraction the midwife exhorting, imploring, encouraging the mother to keep pushing even when she could push no more, three pushes, with the breath held, then release and sink into the bed.

Suddenly there it was.  A miracle.  The top of the head. Even though it was clearly visible it was completely unbelievable. Even though you knew it was going to happen, it was incomprehensible. Even though you understood what was going on, it was ununderstandable. Even though it was impossible, it was actually happening.

The grandmother wept and wept, as she helped, great tears of joy and release, and the godmother kept saying just the right things at just the right moment to relieve the tension. The dula was here there and everywhere, supplying what was needed even before it was asked for. The husband whispered in the ear, and supplied the oxygen. And the midwife was like the captain of the team, organizing, letting everyone know what they should do in a commanding yet gentle voice, always knowing what to do, with her hands deep inside the body of the mother, moving and rearranging and allowing life to enter the world.

A third of the head was pushed out and then went back in again at the end of the contraction. And then there it was again with another contraction and push, the whole head, even as they watched they kept asking themselves:

“How is this happening?”

The midwife started yanking on the head with what seemed like, to the interested observer, shockingly violently aggression. The father had a sudden vision of the midwife ripping his daughter’s head right off, the poor headless baby flailing its arms, while the horrified head looked on.

But no, the midwife’s magic fingers slid Olive right out of her mother.

A collective gasp filled the room. The mother was overcome with relieved jioe de vivre and unspeakable metaphysical physical soul opening exhilaration and awe.

Suddenly there she was:

Olive Annabell Maureen Sterry.

Alive, laying on her mother’s chest, still attached by the cord to the inside. The midwife and dula rubbed Olive with sweet vigor. Olive’s tiny yet huge lungs filling with air, and she gave out a small surprised cry, like: Wow, I’m really here!

IMG_2890The father cried copious tears overflowing with a love that he had never felt.  He saw Olive learning to talk and walk and read and going to school and learning to drive and falling in love and getting married and having a baby of her own, eternity in an instant, infinity in an infant’s eyes.

And that is how, after almost 60 hours of labor, Olive Annabell Maureen Sterry came into the world weighing a whopping 9 lbs. 2 oz at 2:19 p.m. on September 13, 2007.

When I Was a Reggae Singing Lief Ericson on HBO

HBO/Children Television Network’s Emmy Award Winning series Encyclopedia was one of my favorite jobs. Here’s me being Lief Ericson rock star.

david encyclo lief

 

 

 

 

 

 

 

 

 

Art of the Memoir: Tamim Ansary on Going Viral and the Importance of Not Knowing Where You’re Going

To commemorate the publication of the 10 year anniversary edition of my memoir Chicken Self:-Portrait of a Man for Rent, I have decided to do start The Memoir Project.  I’ll be doing a series of interviews with memoirists I admire.  I have known Tamim Ansary for what seems like a lifetime, but isn’t.  He runs the San Francisco Writers Workshop, and in that capacity he demonstrates every Tuesday night how much he knows about writing and books and people.  He’s been a professional writer for a very long time.  I’ve said publicly that he is the wisest men I know, and I stand by that statement.

David Henry Sterry: Why in god’s name did you decide to write a memoir?

ansaryTamim Ansary: Well, that’s a complicated question since I’ve written three. The first one, West of Kabul, East of New York,   I wrote in response to a historical moment. The events of 9/11 had highlighted to rift between the Islamic world and the West, which took most Americans by surprise. I knew all about this issue because I was born in Afghanistan of an Afghan father and an American mother, I had grown up in but grown old in America, and so my whole life had straddled this crack in the culture of the planet. I felt like I was the guy perched on the fence who could see the people on both sides even though they couldn’t see each other. I thought writing about my bicultural life might do some good in the world. The second memoir I wrote was actually someone else’s. I wrote it for an Afghan girl named Farah Ahmadi who  had stepped on a land mine when she was in second grade, had lived the horrors of the long war in Afghanistan, and had confronted them with flabbergasting dignity and courage. The exact circumstances of my writing that memoir are peculiar, but I thought her life was an embodiment of both tragedy and resilience that people should know about.  So these memoirs were attempts to engage with the world of politics and history. But my latest memoir is a very different sort of project. This is a more philosophical examination of “life story,” a phrase we often use without pausing to consider the implications; because the quesiton is, does a life have a story, a narrative arc, in the same way as a novel? A beginning, middle and end that adds up to meaning of some sort?  Several years ago, I was telling someone about a trip I had taken, I happened to tell it all one sitting, and when I was done, it struck me that any journey to any place far away and difficult to reach has a narrative arc if consider it as a whole.  I wondered if I could capture the “story-like arc” of one-whole-life by recounting a selection of iconic journeys. The result is Road Trips. The journeys I chose for this book took place when I was 10,  19,  24,  31,  50, and 52: so the movement is through time as much as space.   This memoir is not hooked to news events or public issues, it tells a private story, and it’s a story I believe all of us have some version of: that odyssey from young to old and the things that happen along the way: falling in love, falling out of love,  breaking up, breaking down, drifting, drowning, searching for solid ground… and finding it…maybe… The details are different for each person but underneath the welter of particulars is, I think, some single story that can be made visible only through the details of a specific life. Mine is the only life I know well enough to use as such a lens, and so I wrote this book. But I’m hoping this book will get readers ruminating on the story-like elements of their own lives even if, as is likely, their lives and mine don’t share a single particular detail. Because my premise here is that the narrative is there in every life; it’s there, you just have to look for it.

DHS: What were the worst things about writing your memoir?

TA: The worst thing, I guess, is getting flak from people whom I mentioned in the memoirs, people whose feelings I hurt, people who didn’t seem themselves the way I portrayed them, people who were disturbed, in some cases, to experience themselves as a side chaaracters in someone else’s life, not as the protagonist which is everybody’s internal identitication of him- or herself.  And there’s another disturbing thing, which is bound to happen when you write a memoir, especially if you’re doing it right, and especially if the focus is on your own life, not on some public event you observed. This is the discovery of narratives you’ve been carrying in your head all your life which are distorted, even false.

DHS: What were the best things about writing your memoir?

TA: I’ll start where my answer to your last question ended.  Gaining discomifting new perspectives on the things you’ve seen, done, and felt is also the good thing about writing a memoir. One can never have too many epiphanies.  And in the case of Road Trips, writing it brought epiphanies not just about my own little life but about the life we’re living on this planet, the implications of permanence and change, culture and identity, memory and time, fiction and reality–I mean writing a memoir, if you share my premise about life as story, does immerse you in the most fundamental issue of them all: everything feels so real when it’s happening, but when you look back, all you see is story. So was any of it real in the first place? And if,like me, you decide it was and you feel a connection to what is real, there is no better feeling.

 

DHS: Did writing your memoir help you make some order out of the chaos we call life?

TA: Asked and answered, your honor? Well, the true answer is yes and no. A memoir helps you make sense of things. Then life keeps happening and it all grows muddy again.  You look back and the meaning of it all changed, even stuff you wrote about earlier and thought you nailed completely. The train never stops moving and the same landscape keeps looking different as you move.

DHS: How did you make a narrative out of the seemingly random events that happened to you?

TA: Well, random is a part of life, but so is intention.  We’re never just knocking about like particles in Brownian motion. We’re always trying to push our story forward, through the random flotsam and jetsom of the world.   Some of that flotsam are obstacles and so they inherently become part of our story; some turn out to be tools but only if we figure out that we can use them, and so those are part of the story too. Some don’t fit into the story either way, so we ignore them, forget them. My premise is that when you write a memoir, you don’t “make a narrative,” you find the narrative. Intentions and obstacles are the indispensable elements of story and those exist in real life at every moment for every person.

DHS: How was the process of selling your memoir?

TA: Selling the first one was easie macheesie because I had just written an email in reaction to the events of 9/11 to twenty or thirty of my friends explaining what I, as an Afghan, thought about the horror because I knew they’d all be asking and I thought it would be say it once to all twenty of them.  Those twenty each sent my email to dozens of their friends and by the next day the email had gone viral across the globe and by the weekend had reached tens of milliions–it was, in fact, one of the first examples of the viral phenomenon that the Internet has made possible. That 900 words email took no longer to write than to type. Don’t tell met here is an inherant contradiciton between random events and story: nothing could be as random and accidental as that email and yet it is certainly a story. Anyway, after the email went viral, my agent had no trouble getting publishers interested. The second one, Farah Ahmadi’s The Other Side of the Sky was an odd one. Good Morning America staged a contest for the most inspiring life. Various people sent in one-page descriptions of their life story and the one judged most inspiring got a bunch of cash and a book about them written by a professional writer.  Farah won the contest, and I was part of her prize.  The third one I’ve just completed, so I’m still n the process of selling it. The difficulty here is that memoirs usually sell on their news hook. They promise to take readers to places they have not been and could never go without this memoir. I promise just the opposite: I intend to take readers to places they too have been, not to startle them with how unique my life has been but to startle them with how unique theirs has been.  We’ll see if that concept sells.

DHS: How did you go about promoting and marketing your memoir?

TA: I’m not much of a guy for marketing and promotion much, so I just write ’em and hope the chips fall were they do me some good. The publisher did send me on an extensive book tour for West of Kabul, East of New York, bookstores mostly, and I read from my book and talked.  With Road Trips, I’ve been reading from it at literary events, bars, bookstore reading and whatnot while I’ve been writing it, to enthusiastic response, so perhaps I’ve been building an audience for it even while it has been in progress.

DHS: Did you have difficulty speaking in public about the intimate aspects of your memoir?

TA: I used to have difficulty speaking in public about anything—really, anything. Then 9/11 happened, that email went viral, and suddenly I was yanked onto various stages and in front of cameras and microphones facing crowds clamoring to know the stuff I happened to know about and the crisis was so intense, I had to tell what I knew, pour it out,  no time to remember that I was shy about speaking in public, I was babbling nonstop, scarcely even knowing what I was saying, for months. When it finally slowed down, I found I no longer had any difficulty speaking in public about anything. And that transformation ha endured. Still, I maintain some reserve. Anything I’ve written about, I’ll speak about. Why not? It’s already out there. Anything I’ve held back about in writing, I will maintain some reserve about in public too.   The thing is, I was out to tell my story. People whose paths have crossed mine have shown up in my story, but they have their own stories and  I try not to be the one that’s telling theirs.

DHS: How did your family, friends and loved ones react to your memoir?

TA: After I published West of Kabul, East of New York, my mother said “What do you mean I had brown hair? I was a blond!”  One of my cousins said how could I call a famous ancestor of ours “a landowner and a poet.” He was a saint! Another cousin observed that of the uncles I had mentioned, his father should have been named the most eminent.  An aunt wasmiffed that I had called another aunt Elizabeth-Taylor beautiful.  I have also gotten some pretty severe and wounding blowback from Road Trips. On the other hand, I think the first memoir helped me and my brother reconnect after a long estrangement.  If you’re going to write a memoir, you have to be ready for some flak. You’ll get it even from—perhaps most of all from—people you’ve scarcely mentioned.

DHS: I hate to ask you this, but you have any advice for people who want to write a memoir?

TA: Well, I’ll say one thing about process: I think it’s a good idea to start without a plan and to do your first rush of remembering while you’re at the keyboard typing away, writing it down. I’d say, let the process of association take you where it will. I’d say, don’t pay attention to what you’re saying or what  you’ve just said, focus only on what you’re about to say.   Don’t push the string,  let yourself be pulled. Later you’ll see what you’ve got and at that point you’ll have to apply other skills to craft your work, but the first skill to cultivate is letting go and not caring or judging.  Association is the mechanism of memory, and memory is itself a narrative-creating machine.   We tend to think of memories as videotapes that we bring out of storage, but neural scientists tell us that memories are constructed in the act of remembering. They also say that more than half of what we think are perceptions are actually reactions to memory. When we reach for a doorknob we only perceive a flash of color and shape, memory supplies the fact that it is a doorknob and what a doorknob is and what we can do with one. Expand that perception and you realize that we’re always living as much in a story as in an immediately present world, in a narrative whose shape depends on what has happened before and what we expect or hope will happen later.S ettle in with this truth and you begin to see what a gigantic thing it is to write a memoir.

Tamim Ansary writes memoir, fiction, history, essays, and blogs. His book West of Kabul, East of New York tell the story of a life straddling Afghanistan and America. He runs the 65-year-old San Francisco Writers Workshop as well intensive memoir workshops in his home.

David Henry Sterry is the author of 16 books, a performer, muckraker, educator, activist, and book doctor.  His new book Chicken Self:-Portrait of a Man for Rent, 10 Year Anniversary Edition, has been translated into 10 languages.  He’s also written Hos, Hookers, Call Girls and Rent Boys: Professionals Writing on Life, Love, Money and Sex, which appeared on the front cover of the Sunday New York Times Book Review.  He is a finalist for the Henry Miller Award.  He has appeared on, acted with, written for, been employed as, worked and/or presented at: Will Smith, a marriage counselor, Disney screenwriter, Stanford University, National Public Radio, Milton Berle, Huffington Post, a sodajerk, Michael Caine, the Taco Bell chihuahua, Penthouse, the London Times, Edinburgh Fringe Festival, a human guinea pig and Zippy the Chimp.  He can be found at www.davidhenrysterry.com.  https://davidhenrysterry.com/

 

 

To All Authors: Support Your Independent Bookstore with Indie First!!!

One of my favorite authors, Sherman Alexie, has  started Indies First. I IMPLORE ALL AUTHORS TO PARTICIPATE! Here’s the letter where he explains it:

logoSHERMAN ALEXIE

Hello, hello, you gorgeous book nerds,Now is the time to be a superhero for independent bookstores. I want all of us (you and you and especially you) to spend an amazing day hand-selling books at your local independent bookstore on Small Business Saturday (that’s the Saturday after Thanksgiving, November 30 this year, so you know it’s a huge weekend for everyone who, you know, wants to make a living).

Here’s the plan: We book nerds will become booksellers. We will make recommendations. We will practice nepotism and urge readers to buy multiple copies of our friends’ books. Maybe you’ll sign and sell books of your own in the process. I think the collective results could be mind-boggling (maybe even world-changing).

I was a bookseller-for-a-day at Seattle’s Queen Anne Book Company when it reopened this past April. Janis Segress, one of the new co-owners, came up with this brilliant idea. What could be better than spending a day hanging out in your favorite hometown indie, hand- selling books you love to people who will love them too and signing a stack of your own? Why not give it a try? Let’s call it Indies First.

Grassroots is my favorite kind of movement, and anyway there’s not a lot of work involved in this one. Just pick a bookstore, talk to the owner (or answer the phone when they call you) and reach an agreement about how to spend your time that day. You’d also need to agree to place that store’s buy button in a prominent place on your website, above the Amazon button if you have one. After all, this is Indies First, not Indies Only, and it’s designed to include Indies in our world but not to exclude anyone else.

This is a great way to fight for independents—one that will actually help them. It’ll help you as well; the Indies I’ve talked to have told me that last year Small Business Saturday was one of their biggest days of the year, in some cases the biggest after the Saturday before Christmas—and that means your books will get a huge boost, wherever you choose to be.

The most important thing is that we’ll all be helping Independent bookstores, and God knows they’ve helped us over the years. So join the Indie First Movement and help your favorite independent bookstore. Help all indie bookstores. Reach out to them and join the movement. Indies First!

Yours in Independence,

Sherman Alexie, An Absolutely True Part-Time Indie

To but a copy of my memoir Chicken, go to your nearest Indy, or to buy online, click here:

 

Chicken Featured in SF Chronicle

My new memoir Chicken featured in SF Chronicle

“Fifteen years ago somewhere in the neighborhood of 4 AM on a thick funk-filled Saturday morning, I find myself in the deep darkness of a dank cracksmoke-saturated Harlem house surrounded by a very attractive transsexual and a dozen disenfranchised Americans in various states of disrepair.”

“Chicken: Self-Portrait of a Young Man

for Rent,” a 10th anniversary edition,

by David Henry Sterry

To buy the book on Amazon click here.  To buy book on Indie Bound click here.

chicken 10 year 10-10-13

 

Phillip Lopate on Chicken: “Compulsively readable, visceral, and very funny.”

“Compulsively readable, visceral, and very funny. The author, a winningly honest companion, has taken us right into his head, moment-by-moment: rarely has the mentality of sex been so scrupulously observed and reproduced on paper. Granted, he had some amazingly bizarre experiences to draw upon; but as V. S. Pritchett observed, in memoirs you get no pints for living, the art is all that counts-and David Henry Sterry clearly possesses the storyteller’s art.”

portraitofmybody— Phillip Lopate, author of Portrait of My Body

To buy the book click here.

Art of the Memoir: Sherril Jaffe on Daughters, Husbands & Defense Against the Chaos

To commemorate the publication of the 10 year anniversary edition of my memoir Chicken Self:-Portrait of a Man for Rent, I have decided to do a series of interviews with memoirists I admire.  I’ve known Sherril Jaffe for many years.  Not only is she a brilliant writer, she’s also an amazing teacher of writing.  She is a tenured professor at Sonoma State University, has won a 2001 PEN award and was a 2010 MacDowell Fellowship.  She is the author of many books, novels, short stories, poetry and yes, a memoir.

David Henry Sterry: Why in god’s name did you decide to write a memoir?

sherril-jaffeSherril Jaffe: When she was fifteen, my older daughter became rebellious and ran away from home.  My husband and I were terrified and mystified by her behavior.  Advice and blame came at us from every direction, and we didn’t know what to do, so finally I began to do what I have always done in order to process experience; I began to make narratives out of what was happening.  I thought if I could do this well enough that she would read it and understand my concerns for her and how much I loved her and she would stop acting in ways that created so much anxiety for me.  I was writing a letter to her and I was also managing my anxiety by giving form to it.  Toward the beginning of what became Ground Rules, my agent sold the book on proposal.  Selling the book validated my attempts to take the straw of each day and weave it into gold each night, to give form to the chaos we were experiencing.  If I could do this, I thought, I might be able to grasp what was happening so I could address it.  We were all suffering, and I wanted the suffering to end.  I was now writing a book, and books have ends. I had set up things so I would have help getting it right—acquiring an editor when I sold the book. Other people with teenager crises were relying on counselors.  I had tried that without success, so now I was banking on my editor.

I worked on the end of the book endlessly, tinkering and tinkering.  My editor was rigorous, however, and wouldn’t accept anything that didn’t really ring true. But then finally the true ending appeared—everything begins to turn around finally when the parents learn to see, respect, and support their daughter for who she actually is, rather than who they have wished, assumed or feared that she was.

I speak here of “the parents” instead of “me and my husband,” because as a fiction writer it is difficult for me to think of a character based on me as me.  I had sold the book as a memoir but I didn’t give much thought at the time as to what that really meant.  I was very afraid for my daughter and eager for this situation to resolve. Unusually for memoir writers, I was writing as the situation was unfolding.  The consensus of opinion is that the more distance you have on your material, the better chance you have of getting a proper handle on it, but I couldn’t afford the luxury of waiting for my material to age like a fine wine; my daughter’s life was on the line.  As I worked, I kept wishing I could peek ahead to the end of the book to see how things were coming to turn out.  I called what I was working on “The Uncertainty Principle” after Heisenberg’s discovery that the act of observation changes the measurement of what is being observed.  I could not take any of the draconian measures some were advising us to adopt with our daughter: all I could do to effect a change eisenberg’s fin our circumstances was to observe them as closely as possible, distill and transform them until their meaning was revealed and we were all saved.

DHS: What were the worst things about writing your memoir?

SJ: The worst thing about writing my memoir was that I did not know if there was going to be a happy ending.  Although I was the author, every time I attempted an ending that was one that I wanted but which wasn’t exactly true, it wouldn’t work artistically; my editor would catch it, and I would be sent back to the drawing board.  Meanwhile our struggle with our daughter resolved just as, in the book, the parents come to see and love their daughter for who she really is, and that is where the story ends.

DHS: What were the best things about writing your memoir?

SJ: Since I was writing my memoir— though not in letter format—as a letter to my daughter, it gave me a way to try to reach out to her who had become so mysteriously distant, so I felt I was doing what I could to keep her safe and to stay connected with her.

DHS: Did writing your memoir help you make some order out of the chaos we call life?

SJ: Indeed, it was my only defense against the chaos.  I was also trying to shape the narrative as I went toward a happy ending, trying to make happiness the inevitable outcome of the story, for there are endless possibilities in chaos.

DHS:  How did you make a narrative out of the seemingly random events that happened to you?

SJ: There was no problem, since I believed the book was simply being delivered to me, chapter by chapter, and that though the events transpiring seemed random, the work of bringing the book into being was the act of discovering in what way the events were actually not random at all.

DHS:  How was the process of selling your memoir?

SJ: I had recently signed up with an agent I loved, so I was not surprised that she sold the book on proposal in short order. There was some suspense as to what the offer would be, and I was disappointed that it was only $15,000, but, on the other hand, knew that $15,000 was the inevitable figure, for at that time I had a magical calendar, and the picture for that month was a painting by Charlie Demuth of a target with one five in the bull’s eye, one in a middle ring and another on the outer band. They offered me five thousand upon signing, five more when I handed in the manuscript and a final five upon publication.

DHS:  How did you go about promoting and marketing your memoir?

SJ: Very poorly!  However, I don’t think it was entirely my fault.  The publisher rejected my title, “The Uncertainty Principle” and made me call the memoir “Ground Rules,” and so the public misunderstood what the book promised. The public expected this to be a guide to controlling teenagers by doing concrete things, like grounding them, for example, not a testament to living with uncertainty.

DHS:  Did you have difficulty speaking in public about the intimate aspects of your memoir?

SJ: No; I have never had a problem speaking in public about anything; my problems came from people speaking to me in private—people I didn’t even know feeling it was okay to give me their opinions about me and my daughter.  I was used to people giving me a critical response to my writing but not to me, personally. This was a shock. I vowed to never again write another memoir.

DHS:  How did your family, friends and loved ones react to your memoir?

SJ: I know now that it was very hard on my daughter, being in the public eye, like that, and I very much regret any pain I may have caused her.  But the plain fact is, the story was written with great love, solely with the intention of keeping her safe by daring to look closely at the terrible reality of life, for nothing looked at squarely can hurt you. And our troubles did end—whether because of the effect of the book on reality or because, like a virus, they had run their course.

DHS: I hate to ask you this, but you have any advice for people who want to write a memoir?

SJ: Yes.  My advice is, watch out, unless you are an extrovert and the point for you is to have everybody talking about you, passing judgments about you and projecting onto you. It feels good when you are admired, of course, but I’m a writer, not a model; I would rather it was my work, not my person, that was getting the attention.  I felt invaded, and it made me queasy when readers I had never met believed they were intimate with me.

 

David Henry Sterry is the author of 16 books, a performer, muckraker, educator, activist, and book doctor.  His new book Chicken Self:-Portrait of a Man for Rent, 10 Year Anniversary Edition, has been translated into 10 languages.  He’s also written Hos, Hookers, Call Girls and Rent Boys: Professionals Writing on Life, Love, Money and Sex, which appeared on the front cover of the Sunday New York Times Book Review.  He is a finalist for the Henry Miller Award.  He has appeared on, acted with, written for, been employed as, worked and/or presented at: Will Smith, a marriage counselor, Disney screenwriter, Stanford University, National Public Radio, Milton Berle, Huffington Post, a sodajerk, Michael Caine, the Taco Bell chihuahua, Penthouse, the London Times, Edinburgh Fringe Festival, a human guinea pig and Zippy the Chimp.  He can be found at www.davidhenrysterry.com.

chicken 10 year 10-10-13

 

Give a Gift to Yourself or the Writer in Your Life-Free 20 Min. Consultation

A free 20 minute consultation w/ the Book Doctors. We can change your publishing life in 2o minutes! We have helped hundreds of writers go from being talented amateurs to professionally published authors. Click here to buy & send proof of purchase to [email protected].

“You guys!!  Thank you for that phenomenal all-day session at Stanford a few weeks ago. Can’t thank you enough for providing the most energizing and invigorating forum for getting us all in touch with The Writer Within.”

“I learned a lot about the publishing world but more about pitching my book. Prior to attending I had no idea what a pitch was.  The feedback you provided was never derogatory, or demeaning you offered helpful and hopeful feedback.  As a result I rewrote my own pitch and am hopeful.  Thank you again.”

“I came to The Book Doctors with nothing but a dream. Now I have a book deal and I’m so excited & grateful.”

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Dylan Ryan, the Thinking Man’s (& Woman’s) Porn Star on Lovelace, Slut Shaming & Choice

Dylan Ryan, the Gary Oldman of porn, gives a beautiful interview about the movie Lovelace.

http://therumpus.net/2013/10/the-rumpus-interview-with-dylan-ryan/

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Art of the Memoir: NPR Interview Alan Black & David Henry Sterry Break It Down

Alan Black, San Francisco literary legend, and author of Kick the Balls, wrote The Glorious World Cup: A Fanatic’s Guide with David Henry Sterry and lived to tell the tale. Sterry is the author of the memoir Chicken, which is now out in a 10 year anniversary edition.  Nancy Wiegman puts Alan and David through their paces as they break down telling and selling the story of your life. http://kchofm.podbean.com/2010/05/24/david-sterry-and-alan-black/
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Art of the Memoir: Sue William Silverman on Pat Boone, Jews, Incest & Sexual Addiction

To commemorate the publication of the 10 year anniversary edition of my memoir Chicken Self:-Portrait of a Man for Rent, I have decided to do start The Memoir Project.  I’ll be doing a series of interviews with memoirists I admire.  Here we have Sue William Silverman, a brave and courageous women who has written about unspeakable personal tragedy with beauty and grace.

Sue_William_Silverman_new_photo_for_web-210David Henry Sterry:  Why in god’s name did you decide to write a memoir?

Sue William Silverman: Not only have I written one memoir, I’ve written two, with a third about to be published this March (2014)! Additionally, I published a craft book on how to write memoir, to help others tell their stories, too.

Here’s why I began to write memoir: Growing up, I lived a double life.  On the face of it, we seemed like a normal, happy family. My father had an important career.  We lived in nice houses, and I wore pretty clothes.  But all this seeming perfection was a veneer, a façade, for the other, hidden life.  It masked the reality that my father sexually molested me, a reality never spoken aloud either at home or in public.

Before I began to write about my childhood, I didn’t fully understand this double life or the devastation it caused.  Instead, for years, the past appeared in my mind’s eye like faded black-and-white photographs, in which no one seemed to be fully alive. Especially me.

Then, I started putting words on the page, examining my past.  It was a relief, finally, to write my life rather than ignore it, a relief to develop a clear focus and vision.

I’ve been asked:  Isn’t it painful to write about the past, all those scary childhood memories? Yes, writing about pain is painful – but it’s also a profound relief.  With every word the pain lessens.  It’s as if I extract it, one word at a time.

To write is to be constantly reborn.  Now, I no longer hide behind a veil of secrets. After writing my secrets, my life feels lighter.  I step into the world more authentically, more honestly alive.

DHS: What were the worst things about writing your memoir?

SWS: Well, even though I love to write, still, writing is just plain tough. It can take years to discover, say, a true voice for a piece, or discover the metaphors of the experience and craft a cohesive structure.

For example, when I was writing Love Sick: One Woman’s Journey through Sexual Addiction, it took five long years to “hear” the voices (yes, plural!) that would convey the totality of the experience. I employ an addict voice as well as a more sober voice, so the book is a twining together of the two. But it took a gazillion drafts before I was able to craft these voices in such a way that they seamlessly revealed the addiction – as well as recovering from it.

Even so, as difficult as it is to write, I’d definitely say that the worst or most distressing thing actually happened during the promotion of Love Sick. Some of the radio interviews I gave, conducted by “shock jocks,” were pretty demoralizing. For example, in one, on live radio, I was asked “where was the kinkiest place you ever had sex.” I was mortified. Love Sick does not, in any way, glamorize sex addiction; it shows how I was emotionally and spiritually dying. So to be asked insensitive questions was, truly, the worst part of the process.

DHS: What were the best things about writing your memoir?

SWS: One of the best parts of writing is the discovery of self, ways in which language can lead to self-definition. Finding answers to your own life’s questions is like following a whisper until it becomes a clear and revealing voice. Sure, writing is time consuming and difficult; nevertheless, I also find it to be almost spiritual.

Additionally, in terms of the promotion process, I’m gratified by the hundreds of e-mails I receive from people who thank me for telling my story because it helps them better understand their own lives.

Here is a short quote from one, so you’ll see what I mean: “Sue, I picked up your story because I thought that I didn’t matter. And in your words I am realizing for the first time that I do matter. I’ve been to lots of therapists, but nobody has ever made me know what it means to be strong until you. I want to be brave like you. You make me know that people can make a difference. You have changed my life for the better and so I just wanted to say thank you.”

To receive a response such as this from a reader, well, it doesn’t get any more meaningful.

DHS:  Did writing your memoir help you make some order out of the chaos we call life?

SWS: Yes, absolutely! Memoir writing, gathering words onto pieces of paper, helps me re-visualize dark and confusing episodes into a more enlightened state. By framing arc, theme, and metaphor, I give my life an understandable and clear organization. Writing provides a structure with which to convey experience. Memoir creates a cohesive narrative of a life story. In short, it turns a messy life (and isn’t life always messy?) into art.

DHS: How did you make a narrative out of the seemingly random events that happened to you?

SWS: Well, it’s taken three memoirs to do so!

One way to craft a narrative – or to make sense of one’s life – is to discover the metaphors of any given event. For example, in one section of Love Sick, I write about a maroon scarf that a married man, with whom I had an affair, gave me. The scarf became a metaphor for loss and alienation. Because of the sex addiction, I didn’t know how to hold onto an authentic relationship; ultimately, all I could hold onto was the scarf. By conveying metaphors in this way, experience coalesces into a congruent whole around a common theme. On the surface, Love Sick is about sexual addiction; however, the deeper theme is loss and alienation.

Also, in order to make sense of a life it’s important not to pack too much into any given memoir. A memoir is a facet of a life – not a whole life. By concentrating on specific themes and concerns, I have room to fully explore each. In other words, when writing memoir, it’s more important to develop a theme, rather than a chronology.

For example, in Because I Remember Terror, Father, I Remember You I focus on growing up in my incestuous family. In Love Sick, I focus on the twenty-eight days I spent in rehab recovering from an addiction – a result of the childhood sexual abuse. In my forthcoming memoir, The Pat Boone Fan Club: My Life as a White Anglo-Saxon Jew, I explore, in a series of essays, my ambiguous relationship toward Judaism.

In sum, in order to craft a cohesive narrative it’s important to maintain a congruent theme, conveyed metaphorically, of the story at hand. By doing so, seemingly random events are artistically rendered into a seamless story.

DHS: How was the process of selling your memoir?

SWS: I submitted my first memoir to a writing contest sponsored by the Association of Writers and Writing Programs. It won in the category of creative nonfiction. Part of the prize was publication with the University of Georgia Press. The UGA Press also, subsequently, published my craft book Fearless Confessions: A Writer’s Guide to Memoir.

With my second book, about sexual addiction, I got an agent who sold it to W. W. Norton. I’d met an editor at Norton, the late Carol Houck Smith, who I felt would be the perfect editor for this book. I’ll always be grateful to her for taking me on.

Now, with the third memoir, I thought it would be a good fit for the University of Nebraska Press’s “American Lives Series.” I’m delighted they accepted it.

I’m very lucky in that the placement of my books was relatively painless.

DHS: How did you go about promoting and marketing your memoir?

Rather than rely solely on book reviews or traditional publicity, I heavily market the books in terms of subject matter. I bill myself as a professional speaker and have traveled around the country giving speeches and readings at conferences that deal with child abuse prevention and sexual addiction. These organizations are comprised mainly of therapists and other professionals who deal with clients struggling to recover from similar traumas. Many of my presentations have also been sponsored by psychology or social work programs at various colleges and universities.

Of course, I also give literary readings and workshops at writers’ conferences and at writing programs.

It’s important to think outside the box and cultivate as many different avenues as possible to market your book.

DHS: Did you have difficulty speaking in public about the intimate aspects of your memoir?

SWS: At first I thought I would crumple in a heap having to present my work in person. But, the more I do it, the less scared I become. And the audiences are incredibly empathetic and caring. I feel very supported. It’s powerful to know that your voice has been heard!

DHS: How did your family, friends and loved ones react to your memoir?

SWS: My parents were dead by the time I wrote and published my first memoir, so I didn’t have to worry about their reaction. My sister was a little scared but, on the whole, was supportive.

What surprised me the most was the reaction of relatives on my father’s side of the family. I thought they’d be angry. They weren’t. In fact, I received many calls and e-mails from cousins, aunts, and uncles telling me that if only they’d known about my father’s abuse, they would have helped me.

At the same time, I know other writers of memoir whose relatives are angry that the family secrets are out in the open. So I know it can be tough to put your story – and your life – out into the world.

DHS: I hate to ask you this, but you have any advice for people who want to write a memoir?

SWS: This is a good question! I teach writing at Vermont College of Fine Arts and, in addition to focusing on craft, we talk a lot about overcoming the fear of revealing family secrets and intimate details of one’s life.

Mainly, I encourage students to try not to allow this kind of fear to stand in the way of writing. After all, we all own our own truths, and we are free to write them. The job of a writer is not to protect people or to make them feel comfortable. Our job is not to sugar-coat experience. I firmly believe in a writer’s right to tell her/his own story. At the same time, literary memoir is not about revenge! It’s about understanding experience. It’s about enlightenment.

Personally, my only regret would have been if I hadn’t written – if I’d let fear stand in my way.

During the writing process, I encourage my students to stay focused on their words, to ignore the outside world as much as possible. This includes family, friends, and even publishers. The most important thing is to first get your story down on paper. Then, after all the words are written, you can decide the next step, how – or even if – you want to share your story with others.

In short, it’s important to take this process in stages. The most important thing is to write, write, write! If you’re scared, just focus on one word at a time…then one sentence, one paragraph, one page. Soon you’ll have a whole manuscript, and be ready to start on the next one.

Sue William Silverman’s memoir, Love Sick: One Woman’s Journey through Sexual Addiction, is also a Lifetime television movie. Her other books are Because I Remember Terror, Father, I Remember You (winner of the Association of Writers and Writing Programs award); Fearless Confessions: A Writer’s Guide to Memoir; and The Pat Boone Fan Club: My Life as a White Anglo-Saxon Jew (forthcoming March, 2014). As a professional speaker, Sue has appeared on such shows as The View and Anderson Cooper 360.  She teaches in the MFA in Writing Program at Vermont College of Fine Arts. www.SueWilliamSilverman.com.

David Henry Sterry is the author of 16 books, a performer, muckraker, educator, activist, and book doctor.  His new book Chicken Self:-Portrait of a Man for Rent, 10 Year Anniversary Edition, has been translated into 10 languages.  He’s also written Hos, Hookers, Call Girls and Rent Boys: Professionals Writing on Life, Love, Money and Sex, which appeared on the front cover of the Sunday New York Times Book Review.  He is a finalist for the Henry Miller Award.  He has appeared on, acted with, written for, been employed as, worked and/or presented at: Will Smith, a marriage counselor, Disney screenwriter, Stanford University, National Public Radio, Milton Berle, Huffington Post, a sodajerk, Michael Caine, the Taco Bell chihuahua, Penthouse, the London Times, Edinburgh Fringe Festival, a human guinea pig and Zippy the Chimp.  He can be found at www.davidhenrysterry.com.  https://davidhenrysterry.com/

Art of the Memoir: Josh Hanagarne, the World’s Strongest Librarian, on Tourette Syndrome, Choosing Stories & Being Strong at the Library

To commemorate the publication of the 10 year anniversary edition of my memoir Chicken Self:-Portrait of a Man for Rent, I’m doing a series of interviews with memoirists I admire. I’ve read lots of great things about the world’s strongest librarian, so I thought I’d track him down and see what he has to say about writing, memoirs, and being strong at the library.

To see piece on Huffington Post click here.

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David Henry Sterry: Why in god’s name did you decide to write a memoir?

Josh Hanagarne: I didn’t do it in god’s name, but here’s an answer: I’ve always liked to write, but I wasn’t trying to become a writer. I had started a blog called World’s Strongest Librarian, just for fun. I was writing about Tourette Syndrome, strength training, books, and a few other things, and there were a few readers (friends and family).  Two months in, the author Seth Godin wrote me an email and said “You should be writing a book! I’m sending your blog to my agent!” Forty eight hours later, I had a literary agent for no reason, and when she said “So what’s the book?” I said, “What book?” And that’s how it started.

DHS: What were the worst things about writing your memoir?

JH: Spending a lot of time thinking about parts of myself that I don’t like. You really get to know yourself when you write a memoir. When you start turning over those rocks, you don’t get to choose what you find underneath them.

DHS: What were the best things about writing your memoir?

JH: Making myself laugh every time I sat down to write. Paying tribute to things I love. Honoring the people who have helped me have the life I have.

DHS: Did writing your memoir help you make some order out of the chaos we call life?

JH: Nope. If anything, it made me throw up my hands and say “It all really is chaos.”

DHS: How did you make a narrative out of the seemingly random events that happened to you?

JH: A memoir is not a life, it’s an aspect of a life. The stories are the illustrations of themes. Once you decide which themes you’re trying to illustrate, choosing stories becomes much easier.

DHS:  How was the process of selling your memoir?

JH: Long! It took three proposals. The first two went nowhere and took almost four years. The third proposal was the one that sold and it got picked up immediately. By that time I had figured out what the book would be and it was an easy sell.

DHS: How did you go about promoting and marketing your memoir?

JH: My primary driver is speaking. I still work at the library, but I’m giving over twenty talks in October alone. I blog. I’m on Twitter.

DHS: Did you have difficulty speaking in public about the intimate aspects of your memoir?

JH: No. Speaking is what I enjoy most, and it’s by far what I’m the best at.

DHS: How did your family, friends and loved ones react to your memoir?

JH: With incredible support. Although my mom says that I made her out to be way nicer than she actually is. She’s wrong.

DHS: I hate to ask you this, but you have any advice for people who want to write a memoir?

JH: Yep. Two things.

  1. Write. No matter what you’re doing, if words aren’t appearing on the page, you’re not writing yet. Don’t worry about people’s reactions during the first draft. Just get it down.
  2. Read The Memoir Project by Marion Roach Smith. It was the last book about writing memoir that I’ll ever read. And it’s short, if that tells you anything about Marion’s approach.

Josh Hanagarne believes in curiosity, questions, and strength, and that things are never so bad that they can’t improve. At first glance, Josh seems an improbable librarian. He stands 6’7″, competes in strongman contests, and was diagnosed in high school with Tourette Syndrome. But books were his first love: Josh’s earliest memories involve fantastic adventures between the pages of Gulliver’s Travels and a passionate infatuation with Fern from Charlotte’s Web. Everything in Josh’s life–from his Mormon upbringing to finally finding love to learning to control his tics through lifting–circles back to a close connection to books. His upcoming book, The World’s Strongest Librarian, illuminates the mysteries of Tourette Syndrome as well as the very different worlds of strongman training and modern libraries. Currently, Josh is a librarian at the Salt Lake City Public Library and lives with his wife, Janette, and their son, Max, in Salt Lake City, Utah.

David Henry Sterry is the author of 16 books, a performer, muckraker, educator, activist, and book doctor.  His new book Chicken Self:-Portrait of a Man for Rent, 10 Year Anniversary Edition, has been translated into 10 languages.  He’s also written Hos, Hookers, Call Girls and Rent Boys: Professionals Writing on Life, Love, Money and Sex, which appeared on the front cover of the Sunday New York Times Book Review.  He is a finalist for the Henry Miller Award.  He has appeared on, acted with, written for, been employed as, worked and/or presented at: Will Smith, a marriage counselor, Disney screenwriter, Stanford University, National Public Radio, Milton Berle, Huffington Post, a sodajerk, Michael Caine, the Taco Bell chihuahua, Penthouse, the London Times, Edinburgh Fringe Festival, a human guinea pig and Zippy the Chimp.  He can be found at www.davidhenrysterry.com.  https://davidhenrysterry.com/

 

On Huffington Post: Everything You Think You Know About Cambodian Sex Workers Is Wrong

I’m always on the lookout for people who have interesting things to say about the strange things that happen in the exchange of sex for money.  Heidi Hoefinger, author of the new book, Sex, Love and Money in Cambodia: Professional Girlfriends and Transactional Relationships, is one of those people.  Here are some of the fascinating things she has some to say about Cambodian sex workers. Click here to read piece on Huffington Post.

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David Henry Sterry: Why did you want to write a book about Cambodian bar girls?

Heidi Hoefinger: I went to Cambodia 10 years ago as a backpacker and I ended up meeting, and connecting with a few girls really quickly. We identified on lots of levels — particularly around the way we dressed and danced, and the music we liked — so we became ‘fast friends.’ Phnom Penh, the capital city, also had a lawless and edgy magnetism about it and I decided then and there that I wanted to come back to Cambodia and write a book about the women who were at the heart of it all.

DHS: What did you expect, and how are your expectations met or shattered?

HH: I’m a little embarrassed to admit that when I first went to Cambodia back in 2003, I was filled with all the naïve assumptions and western biases that many people have when they first get there: all the girls are ‘trapped’ in the bars; they have little decision-making power; they are controlled by bosses and managers; they are all sex workers who are commercially available and negotiable for sex upon any request; and every inter-ethnic couple (Cambodian woman/western man) were commercially-based. Well, I had to confront all those assumptions pretty quickly, because when I got there in 2005 to start formal academic research, I learned right away that something quite different was going on. Most of the girls were working in the bars out of their own free will (to the extent that anyone does in Cambodia or beyond); their sexual decisions weren’t controlled by bosses or managers and the women could decide themselves whether or not they wanted to ‘go with customers’; and the majority did not actually identify as sex workers, or view their quest for foreign boyfriends as ‘work.’ They viewed themselves as ‘bartenders,’ ‘bar girls,’ or ‘bar maids,’ and viewed most of the sexual partners that they meet in the bars as ‘real’ boyfriends.

DHS: Did you spend much time in the bars, and what happens on a typical night?

HH: During several visits over several years, I spent every night out in the bars with the women. But in addition to that, I spent days with them in their homes, helping look after their kids; or we hung out at the markets buying clothes, or at internet cafes translating emails from western boyfriends, or even out in the countryside meeting their families in their villages. But indeed, the majority of our time was spent going out at night. A typical night out usually begins at the salon, where we would get our hair and nails done. The girls who work in the hostess bars that I was researching — these are bars where Cambodian women sit and chat with mainly western customers, but also increasing numbers of East and Southeast Asian men — are able to afford this daily activity due to the increased spending capacity they have which results from the material benefits they gain from foreign boyfriends. After we got dressed, many of them would go to their respective bars and work their shifts from 7pm-2am. After that, we would go to the dance clubs — with or without their male suitors — and when those closed, we would end up at the 24-hour bars to play pool. Finally, we’d end the night by having a bowl of soup on the street to catch up on the night’s gossip before going home to sleep as the sun came up.

DHS: Did you get to know any of these women, and if so, what would she like in terms of background, education, aspirations, dreams, goals?

HH: Over a decade, I got to know many of the women as close friends. And though we came from different ethnic, economic, class and educational backgrounds, we shared similar aspirations: to be happy and live in comfortable environments with our material, physical and emotional needs met. Most of the women were born in the Cambodian countryside, and a combination of familial obligation, financial need, and personal aspirations for adventure, freedom or romance drove them to migrate to the cities. Many but not all have elementary educations — but that’s it, so when they get to the city, their options are limited. They can either do domestic work like cleaning, or street trading of fruits or other goods, or garment factory work, or entertainment or sex work. Many tried their hand at everything and ended up preferring to work in the bars because they were the most lucrative, there was more flexibility of movement, they got to meet people from outside of Cambodia, and learn and improve their English skills, and the bars were just generally more ‘fun’ than the other jobs. Most women are very resourceful and entrepreneurial, and the ultimate goal of many of them was to open their own businesses — like a clothing store, bar, restaurant or salon, so they could support themselves and their families. Of course meeting a nice person along the way, who treats them and their families with love and respect, was also one of the life goals for many.

DHS: Do the bar girls see themselves as sex workers?

HH: Actually, the majority of women I spoke to in the hostess bars over the years do not, in fact, identify as sex workers, or their search for foreign boyfriends as work. Yes, they want and even expect, in some cases, to materially benefit from relationships with foreigners, who by default have more economic power over the women by nature of their western positionality, but the women normally don’t view these things (like clothes, jewelry, phones, tuition, rent or cash) as payment for sexual services from clients, but rather as gifts or support from boyfriends. Within Cambodian culture, there exists a thing called ‘bridewealth’ — which is when the potential groom’s family pays the potential bride’s family back the money they spent on milk while raising their daughter up — known colloquially as paying back the ‘milk money.’ So there is a deeply-rooted cultural expectation of economic benefits attached to marriage. In other words, it’s assumed that a man will financially support his female partner and her family — or at least provide a substantial gift. This is not as rigid as it used to be, and more and more women are equally contributing economically within their relationships, but the point is that just because they get stuff like cash and gifts from their western sexual partners that they meet in the bar does not mean they all identify as sex workers. There are plenty of women, men and transgender people in Cambodia who do identify as sex workers, and there is a growing sex worker rights movement in Cambodia led by a sex worker union consisting of over 6,000 members. But one of the main points of the book is that no matter how someone identifies — as a sex worker, prostitute, girlfriend, whatever — they should be treated with respect for the decisions they make. The book is really trying to destigmatize all the actors involved — the women and their male partners — whether they are involved in commercial relationships or not.

DHS: How are sex workers viewed in Cambodia?

HH: Typically sex workers, or entertainment workers in general — whether they identify as sex workers or not — are viewed with either contempt by general society, or even as subhuman by others. Otherwise, they are viewed as pitiable victims that need saving (and there are lots of local and international NGOs who make it their business to do so). There are written social and moral codes for women that dictate how they should live (originally known as the Chbap Srei, or Women’s Code): quietly, without drawing attention to themselves; obediently and submissively towards their husbands, while not venturing far from home; modestly, in the way they dress, etc. So the women in the bars go against these social codes 100 percent — they are the epitome of ‘bad women’ or ‘broken women’ (srei kouc, in Khmer). But, they can also materially ‘make-up’ for their tarnished images by providing their families with new houses, cars, and tuition for their siblings. So they experience extreme stigma and praise at the same time. It’s a difficult gendered social world for them to negotiate.

DHS: Do these bar girls in Cambodia see themselves as victims? Do they long to be saved?

HH: Most of the women did not view themselves as victims, and expressed a strong desire to instead by respected for the decisions they make under some really tough circumstances. They often referred to themselves in English as ‘strong girls.’ That’s not to say they didn’t know how to capitalize on empathy. That was definitely a strategy that some of the women used to tap into the ‘hero syndrome’ that many western men experience — which I define as an overwhelming desire by the men to use their status, resources, and knowledge to ‘save’ the women and their families from destitution. The problem with ‘hero syndrome’ is that once men offer their ‘help,’ they also expect a certain degree of power in decision-making about how those resources are spent. So really, those with this ‘hero’ mentality to ‘help’ aren’t really helping in the long run if they are just trying to control the families and their finances.

DHS: What is the best way for a well-intentioned white Westerner to help then?

HH: Cambodia has quite a bit of ‘help’ already. The country has been heavily funded by international aid agencies since the 1990s and is still a place where SUVs slapped with NGO logos take up far too much space. It’s also currently flooded with masses of well-intentioned but highly uninformed ‘voluntourists’ who actually pay money to volunteer their time at the plethora of dodgy orphanages or schools that line the cities. The country certainly doesn’t need more ‘help’ of this sort. If Westerners have a burning desire to spend their money philanthropically in Cambodia, I would suggest they donate to projects like the Women’s Network for Unity (WNU), which is the sex worker union I mentioned above, or to other community-run projects that are led by the women or workers themselves, so that the community members actually have a say in what their needs are and where the resources should be spent. I would not suggest throwing money at the hundreds of anti-trafficking groups that have wasted millions (probably billions) of donor dollars in unrealistically trying to ‘abolish slavery’ by forcefully ‘rescuing’ women from the bars, detaining them against their will in ‘shelters,’ and shoving sewing machines in their hands because that is supposedly a more ‘dignified’ form of work. Instead, people should ‘help’ by listening to the women themselves, and to what their needs and desires are, and to respect them for the decisions they make, rather then treating them like infants, victims, or criminals that need rehabilitation or rescue by those who think they know best — who most often have never even met or spoken to a Cambodian bar worker.

DHS: What was your most surprising take away after all was said and done?

HH: I guess the most surprising take away from the research is this controversial idea that not all women who work in bars identify as sex workers; that their relationships aren’t all commercial and often filled with love and emotion; and that the women aren’t all victims who want to be rescued by do-gooder westerners! Instead they are resourceful and using whatever tools are available to them — in this case sex and intimacy — to improve their lives and find happiness amidst tons of stereotypes, sexual violence, corruption, and domestic abuse. I also learned that all relationships around the globe mingle economics, intimacy, emotion and pragmatic materiality on some level, and so the relationships that transpire in Cambodian bars are really not so different from more ‘conventional’ relationships that develop anywhere. Of course there are certain power differentials that are present within these relationships based on economics, nationality and class in many cases, but I guess I’m trying to encourage readers of the book to stop stigmatizing sex and relationships between Cambodian bar workers and western men as something fundamentally different from ‘their’ sex and relationships, and to recognize the transactionality and materiality of their own relationships. And I think the most important thing I learned is that no matter how women identify, and no matter what circumstances they happen to be in, they are capable of — and should be valued for — the decisions they make and that includes their decisions to sell sex, trade sex, and have sex with the people of their choosing. It’s my hope that public understanding of the issues outlined in the book might ultimately help to reduce the stigma that most bar workers experience there, which is really at the root cause of all the discrimination and violence they experience.

BIO: Heidi is a postdoctoral fellow in drug research at the National Development and Research Institutes in New York, and an adjunct lecturer at Berkeley College in NY, and the Institute of South East Asian Affairs, Chiang Mai University, Thailand. She is actively involved in the global sex workers rights movement, and a member of Sex Worker Open University and X:Talk in London, Sex Worker Outreach Project in New York, and on the program advisory committee for the Red Umbrella Fund, which is an international granting body for sex worker projects around the world.

David Henry Sterry is the author of 16 books, a performer, muckraker, educator, activist, and book doctor.  His new book Chicken Self:-Portrait of a Man for Rent, 10 Year Anniversary Edition, has been translated into 10 languages.  He’s also written Hos, Hookers, Call Girls and Rent Boys: Professionals Writing on Life, Love, Money and Sex, which appeared on the front cover of the Sunday New York Times Book Review.  He is a finalist for the Henry Miller Award.  He has appeared on, acted with, written for, been employed as, worked and/or presented at: Will Smith, a marriage counselor, Disney screenwriter, Stanford University, National Public Radio, Milton Berle, Huffington Post, a sodajerk, Michael Caine, the Taco Bell chihuahua, Penthouse, the London Times, Edinburgh Fringe Festival, a human guinea pig and Zippy the Chimp.  He can be found at www.davidhenrysterry.com.  https://davidhenrysterry.com/

chicken 10 year 10-10-13

http://www.huffingtonpost.com/david-henry-sterry/everything-you-think-you-_b_4086449.html

Mark Twain on the Republican Government Shutdown

Honestly, it makes me ashamed to be an American when I see what these bitter, angry, stupid white men are doing to this country. I want to send them all a message, let’s do away with the Republican haters once and for all.

twain

Mort Morte Review: “Absurd, hilarious and tragic”

“By turns absurd, hilarious and tragic, Mort Morte tells the story of Mordechai Murgatroyd Morte, a young man who follows his mother through her unfortunate marriages to several physically and sexually abusive men.”

Buy the book here.

mort male model uzi

Chicken Named on Top 10 Most Provocative Books Of Month List

Chicken, the 10 Year Anniversary Edition, was named on the Top 10 list of most provocative books of the month. Saucy! I’m huge in Tampa Bay!

Chicken: Self-Portrait of a Young Man for Rent, Ten Year Anniversary Edition

“Ten years ago, this debut memoir from Sterry burst upon the literary scene with an energy and inventiveness that captured his little-known subject matter—teenage life in Los Angeles as a rent boy working for a benevolent pimp named Sunny whose “rich, generous, horny friends,” Sterry explains, “pay good money to party with a boy like me.” Now back in print, Sterry’s memoir still crackles with its unsparingly honest approach: “I catch myself in the mirror, seventeen-year-old hardbody belly, pitprop legs, zero body fat, and huge hands. I’m seduced by the glitter of my own flesh.” Scenes from Sterry’s early dysfunctional family life not only add pathos to this tale of fall and resurrection but assure readers that he never sees himself as better than his clients, such as Dot, the wealthy 82-year-old, whose only desire is to experience cunnilingus for the first time—a desire that Sterry readily fulfills. “Even though I have no home and no family except for a bunch of prostitutes and a pimp, even though I have no future… at least I’m good at this.” (Oct.) – Publisher’s Weekly

chicken 10 year anniversary cover Find Chicken at your local independent bookstore:  Indiebound Amazon

“I walk all the way up Hollywood Boulevard to Grauman’s Chinese Theatre: past tourists snapping shots; wannabe starlets sparkling by in miniskirts with head shots in their hands and moondust in their eyes; rowdy cowboys drinking with drunken Indians; black businessmen bustling by briskly in crisp suits; ladies who do not lunch with nylons rolled up below the knee pushing shopping carts full of everything they own; Mustangs rubbing up against muscular Mercedes and Hell’s Angels hogs. It’s a sick twisted Wonderland, and I’m Alice.”

This is the chronicle of a young man walking the razor-sharp line between painful innocence and the allure of the abyss. David Sterry was a wide-eyed son of 1970s suburbia, but within a week of enrolling at Immaculate Heart College, he was lured into the dark underbelly of the Hollywood flesh trade. Chicken has become a coming-of-age classic, and has been translated into ten languages. This ten-year anniversary edition has shocking new material.

“Sterry writes with comic brio … [he] honed a vibrant outrageous writing style and turned out this studiously wild souvenir of a checkered past.” – Janet Maslin, The New York Times

“This is a stunning book. Sterry’s prose fizzes like a firework. Every page crackles… A very easy, exciting book to read – as laconic as Dashiell Hammett, as viscerally hallucinogenic as Hunter S Thompson. Sex, violence, drugs, love, hate, and great writing all within a single wrapper. What more could you possibly ask for? -Maurince Newman, Irish Times

Review of Mort Morte: Dexter, South Park, Aesop, Diary of a Wimpy Kid Meets Travis Bickle

“Like Dexter visiting South Park, like Aesop  mixed with the Simpsons, like Diary of a Wimpy Kill as told by Travis Bickle from Taxi Driver, Mort Morte is a brilliant, sad, deep, LOL book”

mort morte coverx3000wHoly mother of murder, Mort Morte! I’m thinking that David Henry Sterry ate Aesop for breakfast one day and burped this book out later that afternoon; there has to be a lesson in here somewhere, but I’m still stunned speechless so I can’t quite articulate it. I think it has something to do with the medicinal qualities of tea …

Mort Morte is the story of a boy who loves his mother, and who knows evil when he sees it. Mort Morte is a boy who is ready to right wrongs, unfortunately in all the wrong ways. Mort Morte is a troubled child. Then he commits murder. Not once, not twice, read the book to find out how many times. Mort Morte’s mother is a troubled woman. She keeps marrying the wrong man. Not once, not twice, read the book to find out how many times.

Seriously, MORT MORTE is a brilliant satire, a sad commentary on the dark side of life, and a hysterically disturbing story. I can’t say it’s my kind of humor, but the book is original, fast paced, and captivating. Despite all the aforementioned murder, I had to keep turning the pages to see what would happen next. And that is the sign of a great story.

To buy the book click here.

Publisher’s Weekly Review of Chicken: Self-Portrait of a Young Man for Rent, Ten Year Anniversary Edition

Chicken: Self-Portrait of a Young Man for Rent, Ten Year Anniversary Edition

chicken 10 year anniversary cover

“Ten years ago, this debut memoir from Sterry burst upon the literary scene with an energy and inventiveness that captured his little-known subject matter—teenage life in Los Angeles as a rent boy working for a benevolent pimp named Sunny whose “rich, generous, horny friends,” Sterry explains, “pay good money to party with a boy like me.” Now back in print, Sterry’s memoir still crackles with its unsparingly honest approach: “I catch myself in the mirror, seventeen-year-old hardbody belly, pitprop legs, zero body fat, and huge hands. I’m seduced by the glitter of my own flesh.” Scenes from Sterry’s early dysfunctional family life not only add pathos to this tale of fall and resurrection but assure readers that he never sees himself as better than his clients, such as Dot, the wealthy 82-year-old, whose only desire is to experience cunnilingus for the first time—a desire that Sterry readily fulfills. “Even though I have no home and no family except for a bunch of prostitutes and a pimp, even though I have no future… at least I’m good at this.” (Oct.) – Publisher’s Weekly

Amazon  Indiebound

MAN’S EVOLUTION FROM NEANDERTHAL TO FASHIONISTA IN 94 SECONDS

From HBO/CTW Encyclopedia

Books, Dexter, Rejection, Art, Masturbation, Good Sex, Bad Sex

Interview from the Dan O’Brien Project

Tell us about your most recent release.
My new book is Mort Morte, with beautiful pictures by Alain Pilon.
On my third birthday, my father, in an attempt to get me to stop sucking my thumb, gave me a gun. “Today son, you are a man,” he said, snatching the little blue binky from my little pink hand. So I shot him.
mort coverSo begins MORT MORTE a macabre coming-of-age story full of butchered butchers, badly used Boy Scouts, blown-up Englishman, virginity-plucking cheerleaders, and many nice cups of tea.
Poignantly poetic, hypnotically hysterical, sweetly surreal, and chock full of the blackest comedy, MORT MORTE is like Lewis Carrol having brunch with the kid from The Tin Drum and Oedipus, just before he plucks his eyes out. Or Diary of a Wimpy Kid as told by Travis Bickle from Taxi Driver
In the end though, MORT MORTE is a story about a boy who really loves his mother.
A new review:
“Who do you think of when someone says black humor? Johnathan Swift? Joseph Heller? Kurt Vonnegut? Perhaps Roald Dahl?
Well, add David Sterry to your list. His newest book, Mort Morte is as black as sin and twice as fun. It all starts innocently enough. Our three-year-old protagonist, vengeful over his father’s depriving him of his binky, seeks revenge by shooting dear-old-dad with the very gun he had given Mort as a birthday present. Be forewarned, though. After that, things take a violent turn. This pithy little book with its delightfully cheeky artwork escorts us through murder after murder, each more hilariously executed than the last, before our hero is figuratively ridden out of town on a Texas-sized rail. Where does Mort go from there? Surely, you jest! Where else but Harvard? Buy a ticket on this one. You’ll enjoy the ride.”
Here’s where to buy it:
From publisher Barnes & Noble Amazon Bookadda (India’s favorite on-line bookstore) Books for less
What else do you have coming out?
I have a new anthology called Johns, Marks, Tricks and Chickenhawks, it’s all writings by people from the sex business. It’s a follow-up to the anthology I put together a few years ago called Hos, Hookers Call Girl and Rent Boys, which appeared on the front cover of the Sunday New York Times book review. “Eye-opening, astonishing, brutally honest and frequently funny… unpretentious and riveting — graphic, politically incorrect and mostly unquotable in this newspaper.” It is a unique sociological document, a collection of mini-memoirs, rants, confessions, dreams, and nightmares by people who buy sex, and people who sell. And because it was compiled by two former sex industry workers, the collection is, like its predecessor, unprecedented in its inclusiveness. $10 crack hos and $5,000 call girls, online escorts and webcam girls, peep show harlots and soccer mom hookers, bent rent boys and wannabe thugs. Then there’s the clients. Captains of industry and little old Hasidic men, lunatics masquerading as cops and bratty frat boys, bereaved widows and widowers. This book will shine a light on both sides of these illegal, illicit, forbidden, and often shockingly intimate relationships, which have been demonized, mythologized, trivialized and grotesquely misunderstood by countless Pretty Woman-style books, movies and media. This is hysterical, intense, unexpected, and an ultimately inspiring collection.
Next up is a book that I cowrote for Norton with my partner Arielle Eckstut and two brain scientists from Duke, it’s called What Are They Thinking? It’s all about this amazing research they’ve done on the teenage brain. It’s absolutely horrifying! But fascinating at the same time. Really gives insight into anyone who’s ever been, or will be, a teenager.
Then I have a novel which I wrote with twins Keith and Kent Zimmerman, they’re best-selling authors who’ve done books with everyone from Johnny Rotten to Alice Cooper. This collaboration is called The Hobbyist, it’s about this strange real-life website in the Bay Area where men rate sex workers, kind of like a Zagat guide for prostitutes. The book can be described as About a Boy meets The Graduate meets The Happy Hooker.
And finally, the 10 year anniversary of my memoir Chicken I coming out in the fall. It’s about when I was studying existentialism with a bunch of nuns at Immaculate Heart College, while I worked as a rent boy, servicing rich ladies in Hollywood. The book has been translated into 10 languages, it’s an international bestseller, and has been optioned by Scott Buck, the show runner for Showtime’s Dexter. He has written a screenplay based on the book.
Is there anything you want to make sure potential readers know?
I also run a company called The Book Doctors, which helps people figure out how to get successfully published. We started the company when our book The Essential Guide to Getting Your Book Published came out a couple of years ago. Anyone who buys a copy of our book after reading this interview will get a free 20 min. consultation from Oz. We helped dozens and dozens of talented amateurs become professionally published authors. Just send your proof of purchase to: [email protected]
What’s the most blatant lie you’ve ever told?
I once tried to pick up girls at Venice Beach by telling them I was a photographer for Playboy.
What is the most demeaning thing said about you as a writer?
This was from the editor of a poetry journal that went out of business about six months after he sent me this very helpful critique of my work I am now the author of 14 books.
How do you react to a bad review of one of your books?
First I tried to figure out if there’s anything useful I can get out of the criticism. I’ve had some reviewers say really helpful things as they lashed me with their poison pen. After that, I plan revenge. What can I do to wreak havoc on their miserable lives? That kind of thing.
When are you going to write your autobiography?
I’ve written two memoirs, the above-mentioned Chicken, and I wrote a book about when I was the master of ceremonies at a male strip club called Chippendale’s in New York City in the mid-80s, when it was the hottest show in the city that never sleeps. My boss was shot in the head, executed by a hitman. It’s called Master of Ceremonies.
Are the names of the characters in your novels important?
Absolutely. The hero of my novel was called Mort Morte. The E on the end of the second Mort of course means death.
What about the titles of your novels?
Yes.
Are there any occupational hazards to being a novelist?
I think if you spend too much time in your imagination you can get stuck there, and it gets hard to interact with the other humans. Of course it’s hard to make money writing novels. But I absolutely love it. As Woody Allen said, there are only two things in life can control, Art and Masturbation. And as a novelist, I get to engage in those two things every day.
What’s your favorite fruit?
Raspberry.
How many people have you done away with over the course of your career?
In my new book, our hero kills four or five of his dads.
Ever dispatched someone and then regretted it?
In the novel I’m working on now, a character gets exterminated. But my readers love this guy, so I kept expanding his role in the book. I’m definitely going to bring him back for the sequel.
Have you ever been in trouble with the police?
I was once thrown in jail for hitchhiking through Highland Park, which is one of the richest suburbs of Dallas. I was 18 at the time and had very long hair.
So when were you last involved in a real-life punch-up?
When I was eight years old, in Hueytown Alabama, my neighbor was really mad at me, I can’t remember why, but he came running straight at me like you was going to kill me. I reared back and punched him right in the nose, and fell like I shot him. It was very satisfying.
If you were going to commit the perfect murder, how would you go about it?
I been watching a lot of Breaking Bad, and I think I would get a big plastic tub and dissolve the person in acid.
What do you want to be when you grow up?
Happy. If I can’t be happy, I’d like to be really really rich.
What is your favorite bedtime drink?
Chamomile tea laced with liquid opium.
Do you ever wish that you had an entirely uncreative job, like data entry or working in a factory?
I was a building inspector. I fried chicken for a living. I was a telephone solicitation technician. I learned a lot about life from all these medial, deadening, dead-end, underpaying jobs. But I would not want to do them again.
Do you believe in a deity?
I guess I categorize myself as a Pagan humanist. I worship the earth and the sky and food and sex and love and music and creativity.
Do you ever write naked?
I’m naked right now!
Who would play you in a film of your life?
Actually, Jonathan Taylor Thomas, who was a teen heartthrob on the show Home Improvement optioned my memoir Chicken so he could play me at 17. Sadly, that never happened. Right now we’re trying to get Justin Bieber to play the lead role in Chicken, he would be portraying a 17-year-old sex worker. I’m not kidding. That’s totally real.
 Jonathan_Taylor_Thomas-1-smallJustin Bieber6-20120821-47
What are the most important attributes to remaining sane as a writer?
Surrounding yourself with people who like you. I had a lot of trouble doing that in the first 40 years of my life. I really enjoy reading my work in public, that’s part of what keeps me sane as a writer.
Have you ever read or seen yourself as a character in a book or a movie? 
I was a professional actor for many years and did portrayed everyone from George Washington to Abbie Hoffman to Leif Ericson. Among many others. I see myself as every character in every movie or book I read or watch.
What is the single most powerful challenge when it comes to writing novel?
Getting people to read your work.
What do you consider your biggest failure?
I trust people too easily. I assume they’re going to do what they say they’re going to do. I suffer from posttraumatic stress disorder, and I sometimes fly into a crazy rage. I’m really trying hard not to do that, but there are just so many RIDICULOUS HORRIBLE ASSHOLES!
 Do you research your novels?
I tried to do is little research as possible, because I want to make the most money per word as possibly. One of my heroes as a writer is Dr. Seuss. There are only 232 words in Cat in the Hat, and he’s made approximately $1 billion from that book. I don’t think he had to do much research on it. The novel I’m working on now involves the main character living with the Shakers, who were a pretty well known religion in the mid-1800s. The Shakers are famous for two things. They made great furniture. They didn’t believe in sex. There are no more Shakers. I did lots of research on them.
How much impact does your childhood have on your writing?
Enormous. As you see above, in my new book, a three-year-old kills his father with the gun his dad gives him as a birthday present. It’s the first book I ever wrote. I think I was trying to work out some stuff.
What was the greatest thing you learned at school?
I got turned onto a lot of great books and music. Beethoven to Nick Drake to Robert Johnson to Taj Mahal to Jean Pierre Rampal. Thomas Pynchon to Charles Dickens to Hunter S Thompson. The list goes on and on.
Do you laugh at your own jokes?
Only if they’re really really funny.
Do you admire your own work?
Only when it’s really really good.
What are books for?
Escape, laughter, adventure, information, thrills, chills, romance. My partner and I wrote a book called Putting Your Passion Into Print, which got updated into The Essential Guide to Getting Your Book Published. So we got a bunch of boxes of the hard cover version of PYPIP, which are essentially useless now. But they throw off a lot of heat when you burn them in the fireplace. And living in northern New Jersey as we do, that can be highly significant.
Are you fun to go on vacation with?
Oh yes. I love to swim. I also enjoy playing all kinds of games.
How do you feel about being interviewed?
I love it.
Why do you think what you do matters?
It keeps me out of trouble. Also, I talk about things that are forbidden in our culture. I was raped when I was 17. It’s in my memoir Chicken. When I get up in public and talk about that, there are always a couple of people in the audience who’ve been through the same thing. And when I talk about it, it gives them license to talk about it. They don’t feel like such a freak anymore. Or maybe they realize that we’re all freaks in one way or another. Part of my mission has been to expose how kids get exploited and abused by grown-ups. I think this is very important. I also write a lot about se work and create a forum for writers who have been in the sex business. I want to normalize this occupation, remove some of the taboo and stigma. I consider this to be important.
 
Have you ever found true love?
Absolutely. Writing Mort Morte actually led me to getting an agent, who turned out to be the love of my life. And we have a daughter who’s five years old, and I have a love for her that is so profound and deep, it’s like nothing I’ve ever experienced.
How many times a day do you think about death?
I sometimes go days without thinking about it. But I do have these morbid images of my daughter dying in some horrible way, and me not being able to stop it. Once in a while lying awake at night I imagine what the world would be like without me, and it’s truly a horrible idea.
Are you jealous of other writers?
Constantly.
What makes you cry?
One of the ways I got over posttraumatic stress disorder, and addictions to cocaine and sex, was through hypnotherapy. My hypnotherapist taught me how to unleash the emotions within me. I was raised in an English environment, where no one ever cried. So now all kinds of things make me cry. I can cry watching a trailer for a sappy movie. The other day I was watching Love Actually, which is really cheesy movie. But I wept like a baby. I really enjoyed it.
What makes you laugh?
Buster Keaton. Richard Pryor. Lenny Bruce. George Carlin. People who can make comedy out of tragedy.
What are you ashamed of?
When I was in my 20s I used and exploited people, mostly women, to get what I wanted. I was like a vampire sucking love & sex out of women, and giving nothing in return.
What’s the loveliest thing you have ever seen?
My daughter.
Hiding eyes Edinburgh 1
David Henry Sterry is the author of 14 books, a performer, muckraker, educator, activist, and book doctor. His first memoir, Chicken, was an international bestseller, and has been translated into 10 languages. His anthology, Hos, Hookers, Call Girls and Rent Boys was featured on the front cover of the Sunday New York Times Book Review. He authored The Essential Guide to Getting Your Book Published with his ex-agent and current wife. His novella Confessions of a Sex Maniac, was a finalist for the Henry Miller Award. He has written books about working at Chippendales Male Strip Club, the teenaged brain, how to throw a great pajama party if you’re a tween girl, a patriciding mama’s boy, World Cup soccer, a sex maniac, and how to get a book published. He has appeared on, acted with, written for, worked and/or presented at: Will Smith, Edinburgh Fringe Festival, Stanford University, National Public Radio, Penthouse, Huffington Post, over 100 independent bookstores from the Strand in NYC to Books & Books in Miami to City Lights in SF to Powell’s in Portland, Miami, LA & Teaxas Book Festivals, Michael Caine, 92nd St. Y, Smith College, Brooklyn Book Festival, the London Times, Reed College, Playboy and Zippy the Chimp. He loves any sport with balls, and his girls. www.davidhenrysterry

Chicken: 10 Year Anniversary Edition

Chicken

Purchase the Book

Paperback : Amazon.com | Barnes & Nobles | Indiebound | Softskull | Powells
Ebook : Kindle | Nook | iBookStore | Kobo
Audiobook: Audible.com
Signed Book : Contact me

Discuss the Book

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“Ten years ago, this debut memoir from Sterry burst upon the literary scene with an energy and inventiveness that captured his little-known subject matter—teenage life in Los Angeles as a rent boy working for a benevolent pimp named Sunny whose “rich, generous, horny friends,” Sterry explains, “pay good money to party with a boy like me.” Now back in print, Sterry’s memoir still crackles with its unsparingly honest approach: “I catch myself in the mirror, seventeen-year-old hardbody belly, pitprop legs, zero body fat, and huge hands. I’m seduced by the glitter of my own flesh.” Scenes from Sterry’s early dysfunctional family life not only add pathos to this tale of fall and resurrection but assure readers that he never sees himself as better than his clients, such as Dot, the wealthy 82-year-old, whose only desire is to experience cunnilingus for the first time—a desire that Sterry readily fulfills. “Even though I have no home and no family except for a bunch of prostitutes and a pimp, even though I have no future… at least I’m good at this.” (Oct.) – Publisher’s Weekly.This is the chronicle of a young man walking the razor-sharp line between painful innocence and the allure of the abyss. David Sterry was a wide-eyed son of 1970s suburbia, but within a week of enrolling at Immaculate Heart College, he was lured into the dark underbelly of the Hollywood flesh trade. Chicken has become a coming-of-age classic, and has been translated into ten languages. This ten-year anniversary edition has shocking new material.“Sterry writes with comic brio … [he] honed a vibrant outrageous writing style and turned out this studiously wild souvenir of a checkered past.” – Janet Maslin, The New York Times“This is a stunning book. Sterry’s prose fizzes like a firework. Every page crackles… A very easy, exciting book to read – as laconic as Dashiell Hammett, as viscerally hallucinogenic as Hunter S Thompson. Sex, violence, drugs, love, hate, and great writing all within a single wrapper. What more could you possibly ask for? -Maurince Newman, Irish Times

“A beautiful book… a real work of literature.” – Vanessa Feltz, BBC

“Insightful and funny… captures Hollywood beautifully” – Larry Mantle, Air Talk, NPR

“Jawdropping… A carefully crafted piece of work…” -Benedicte Page, Book News, UK

“A 1-night read. Should be mandatory reading for parents and kids.” -Bert Lee, Talk of the Town

“Alternately sexy and terrifying, hysterical and weird, David Henry Sterry’s Chicken is a hot walk on the wild side of Hollywood’s fleshy underbelly. With lush prose and a flawless ear for the rhythms of the street, Sterry lays out a life lived on the edge in a coming-of-age classic that’s colorful, riveting, and strangely beautiful. David Henry Sterry is the real thing.” –Jerry Stahl, author of Permanent Midnight

“Compulsively readable, visceral, and very funny. The author, a winningly honest companion, has taken us right into his head, moment-by-moment: rarely has the mentality of sex been so scrupulously observed and reproduced on paper. Granted, he had some amazingly bizarre experiences to draw upon; but as V. S. Pritchett observed, in memoirs you get no pints for living, the art is all that counts-and David Henry Sterry clearly possesses the storyteller’s art.” – Phillip Lopate, author of Portrait of My Body – Phillip Lopate, author of Portrait of My Body

“Like an X-rated Boogie Nights narrated by a teenage Alice in Wonderland. Sterry’s anecdotes… expose Hollywood at its seamiest, a desperate city of smut and glitz. I read the book from cover to cover in one night, finally arriving at the black and white photo of the softly smiling former chicken turned memoirist.” -Places Magazine

“Snappy and acutely observational writing… It’s a book filled with wit, some moments of slapstick, and of some severe poignancy… a flair for descriptive language… The human ability to be kind ultimately reveals itself, in a book which is dark, yet always upbeat and irreverent. A really good, and enlightening, read.” – Ian Beetlestone, Leeds Guide

“Brutally illuminating and remarkably compassionate… a walk on the wild side which is alternatively exhilirating and horrifying, outrageous and tragic… Essential reading.” – Big Issue

“Visceral, frank and compulsive reading.’ –City Life, Manchester

“Sparkling prose… a triumph of the will.” -Buzz Magazine

“Pick of the Week.” -Independent

“Impossible to put down, even, no, especially when, the sky is falling…Vulnerable, tough, innocent and wise… A fast-paced jazzy writing style… a great read.” -Hallmemoirs

“Full of truth, horror, and riotous humor.” -The Latest Books

“His memoir is a super-readable roller coaster — the story of a young man who sees more of the sexual world in one year than most people ever do.” – Dr. Carol Queen, Spectator Magazine

“Terrifically readable… Sterry’s an adventurer who happens to feel and think deeply. He’s written a thoroughly absorbing story sensitively and with great compassion… A page-turner… This is a strange story told easily and well.” – Eileen Berdon, Erotica.com

“Love to see this book turned into a movie, Julianne Moore might like to play Sterry’s mum…” – by Iain Sharp The Sunday Star-Times, Auckland, New Zealand).

Excerpts

Featured Books by David Henry Sterry

chicken-10-year-anniversary-cover-198x300 Master-ceremonies-cover-199x300 essential hos
johns mort HobbyistFinalPRINTCover5.375x8.25inchesCMYK300dpi confessions

I Was George Washington

I was honored to play George Washington, father of our country, on HBO’s award winning show Encyclopedia.

Khaled Hosseini on Workshops, Editors, and Calling Yourself a Writer, Book Doctors on Huffington Post

2013-08-07-hosseini

My man Khaled sits for a brain-picking by the Book Doctors on the Huffington Post.

http://www.huffingtonpost.com/david-henry-sterry/khaled-hosseini-on-worksh_b_3721494.html

Confessions of a Sex Maniac E-Book $0.99: “William Kotzwinkle, Jim Carroll & Tom Waits”

Confessions book

Purchase the Book

Paperback : Amazon.com
Ebook : Kindle | Nook | iBookStore | Kobo
AudiobookAudible.com
Signed Book : Contact me

Discuss the Book

icon-amazonicons-goodreadsicon-bn
New review of Confessions of a Sex Maniac: “In the tradition of William Kotzwinkle’s “The Fan Man” and Jim Carroll’s “Basketball Diaries” and “Forced Entries”, David Henry Sterry’s “Confessions of a Sex Maniac” has a fascinating and addicted-to-something main character that drives the narrative towards an explosive ending. Put some music behind it and you’d have a long and fine Tom Waits song. After hanging out with these characters for a while you might feel the distinct need to take a thorough shower. Intense and memorable.”

Excerpts

Featured Books by David Henry Sterry

chicken-10-year-anniversary-cover-198x300 Master-ceremonies-cover-199x300 essential hos
johns mort HobbyistFinalPRINTCover5.375x8.25inchesCMYK300dpi confessions

Mort Morte: Reminds me of Lolita, Catcher in the Rye, Full Metal Jacket, Alice in Wonderland”

This review just in for my short novel: Mort Mortemort cover
“Suspenseful, curious, moving, strange, modern, touching, angry, bitter, funny, sarcastic, absurd, pensive, violent, resentful, releasing, brave, exciting, dreamy, dangerous, experimental, honest, iceberg shard coming of age story.  Reminds me of Lolita, the Ginger Man, Catcher in the Rye, Full Metal Jacket, even Jacob’s Ladder, Alice in Wonderland, and my own experiences with psychosis, anger, homicide, suicide, PTSD, survivor’s guilt.” – Steven Favius
To buy the book click here.

 

 

DANGEROUS DOLLS, BAD MEN & SMOKING GUNS: NIGHT OF NOIR & BURLESQUE AT THE STRAND

One of my favorite shows: Hitmen, dirty divas, tasseled ta-tas, and murder most foul! Master of ceremony David Henry Sterry, ex-Hollywood teenage rentboy and best-selling author of Chicken; Hos, Hookers, Call Girls and Rent Boys; and Confessions of a Sex Maniac, will ride herd over a night of literary darkness featuring the brightest lights writing about the blackest deeds, and fierce femme fatale’s flashing fairest flesh. Joining him are two burlesque legends. Jo “Boobs” Weldon is one of the great burlesque dancers of this or any time, Headmistress of the New York School of Burlesque, and author of The Burlesque Handbook. Jonny Porkpie is the Burlesque Mayor of New York, has performed all around the world, creator of Pinchbottom Burlesque, the “Best Burlesque” in NY (New York Magazine, The Village Voice), and author of The Corpse Wore Pasties. They will be joined by an All-Star cavalcade of bad men and dangerous dolls.

DAVID HENRY STERRY, JO “BOOBS” WELDON, JONNY PORKPIE, MISS MARY CYN, CHARLES ARDAI, GARY CAHILL, ROSIE CHEEKS

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Crazy New Jersey 4th of July

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