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Matthew Quick Interview


I had the privilege to speak with Matthew Quick a few weeks ago, through my gig at School Library Journal. I wrote up the interview over there, but due to space constraints I had to cut out a lot of really interesting things that we discussed. SLJ has graciously allowed me to post the rest of my interview with Quick here. I was particularly anxious to publish his answer to my first question, as it’s something that you and I have talked a lot about.

I think I’ve edited this so that it makes sense by itself, but you (and our readers) should probably read the original SLJ piece first anyway.

Me: I’ve been furiously rereading some of your older stuff over the last couple of days – actually I had never read Sorta Like a Rock Star and I just read that in I think about 3 hours last night and really enjoyed it. One of the things I noticed and it’s present in Silver Linings too is the role of Catholicism and religion. It’s really rare to find a YA book that takes religion really seriously when it isn’t a “Christian” novel. I wonder what you think about that in terms of YA literature or in terms of how it works in that book.

MQ: I did an event in Philadelphia with the Philadelphia Free Library, and I remember a nun showed up in the audience and during my talk she was looking at me and beaming and afterwards she came up to me and said I am Amber Appleton [from Sorta Like a Rock Star], I am your character, and she said “tell me that you’re Catholic.” And I said “I’m not.” And she said “noooo” but I quickly told her that I married into a Catholic family and my wife’s great-great uncle was Br. Andre Bessette of Montreal who was just canonized so it’s kind of like having Catholic Rock Star Royalty in your family. But I was raised protestant in a Methodist Church and my parents were pretty serious about that. And my grandfather was a big church guy and he had me pegged very early on as a minister.

But growing up I was always at church – that’s where I learned about stories. Religion, particularly protestant religion, was ingrained in me from a very early age. And I went to college and I studied the religions of the world. I’ve always been one to ponder the big questions and the religious background that my parents gave me was a starting point for me so I return to it often in my work. I think also I’m intrigued by Catholicism because I can were that mask and it’s a little less personal. I haven’t written a Protestant character I felt like maybe I would have the temptation to be autobiographical.

I’ve had religious kids write me about Forgive Me Leonard Peacock [about] Lauren who’s the Christian girl –  a lot of that stuff is taken from things I experienced in my youth: the passing out of tracts and I think there’s a little bit of a wild story about what happens if your let your friends go to hell. And that was all stuff that was very real to me in my early teens. I don’t attend church now but I consider myself to be a pretty spiritual person and those big questions are still really important to me.

I had one girl write me who said “I love Leonard Peacock but it’s obvious you haven’t spent a lot of time around Christian people” I wrote her back and said “that was my entire childhood.”

Me: I think that segment of fundamentalists is kind of obscure to a lot of people and it maybe seems like a caricature when you write it in a book like that, and you think “people don’t really believe that, do they?”

MQ: But they do. In fact many of my family members do. I think if you know, you know. I say that a lot when I write about mental health too: if you know, you know. There are some characters that are very authentic to some members of the mental health community that others don’t see because they don’t know those characters in real life, they have a hard time engaging with them. And I think it’s true whenever you write honestly about something – not everybody’s going to be able to make that equivalent with someone in their life. But I think that’s why we read so we can learn about different people and look at it from different points of view.

Me: That’s something as a critic I can get into trouble with, where I say “I don’t know these people, I haven’t had this experience so it must not be very realistic. Matthew Quick must not have done a very good job of it”.

MQ: It’s always frustrating, especially when you write about marginalized people but it’s even more frustrating for me, especially when I hear teachers saying things like that because those kids are in your classroom, and if you’re going to make dismissive comments about my characters that means you’re also making dismissive comments about people your interact with.

But I saw that again and again when I was teaching. There are just some teachers who didn’t believe that there were Leonard Peacocks in the building.

I found as a high school English teacher as soon as you gave a kid permission to tell the truth, they always told the truth. As long as they felt comfortable and you gave them permission. I just think that we tell kids “don’t be who you are, conform, and be somebody else.” And then we’re surprised when they explode.

Me: The Good Luck of Right Now is told in the form of letters written to Richard Gere. Letters seem to play a prominent role in a lot of your books–the Haikus in Sorta Like a Rock Star, the letters from Tiffany in Silver Linings–is there anything there or am I pulling out a random coincidence.

MQ: I was always writing, even at a young age. I had a penpal when I was in my early teens, through college. I’ve always found –I’m kind of a secret introvert—I’m most comfortable alone in a room. I also feel a lot more comfortable in letters than in conversations. And I think a letter is so interesting because you can take the time to say what you really mean.

And reading someone else’s letters—a letter that you did not write and that wasn’t addressed to you—is a really great window into somebody’s psyche. It’s a kind of “emotional pornography”– it’s very intense, it’s voyeuristic, but you can get to know someone very well.

I also think, you know, we live in an age of email and text messages and twitter and it’s increasingly hard for us to interact with each other face-to-face. I think when we write letters, it’s a time to slow down, maybe a time to correspond in way that we don’t usually do in real life. And I think it’s a little more intense too.

Me: [I asked Quick for his thoughts on the movie of Silver Linings Playbook]

MQ: David O Russell’s motivation for the film was his son. He wanted to make a movie that would give his son hope. His son had dealt with some pretty serious depression. He was coming at it from the opposite end. Robert De Niro too, as fathers—I was writing it as a son and they were coming at it as fathers. So they kind of flipped it around a little.

I’m a huge David O Russell fan. I said to myself “you’re going to learn a lot from this”. When I sold the film rights, I had been living with my in-laws for three years and I hadn’t received a paycheck in all that time. When I got that option movie it allowed me to buy some dignity. My wife and I were able to live for the first time as fiction writers and pay our own rent. To me it was all about being grateful that my book got a lot of exposure and remembering that I’m a novelist and not a moviemaker.

I’m eternally grateful to David and to Harvey Weinstein. And you start to realize how lucky you are. I have a lot of friends who are writers some of them are 10, 15, 20 years older than I am who have never had a break like this. And that is not lost on me. Because they are fantastic writers, they’re good people, they’re people who’ve helped me out tremendously, and I can’t answer why did I get picked. It’s important to remain humble and grateful and to realize as a fiction writer it’s an almost impossible task to make your living and so when these things come along, you just have to be grateful.

Me: Did you get to meet Robert De Niro and Jennifer Lawrence?

MQ: I met everyone except Jennifer Lawrence. I met Robert De Niro he was incredibly humble. Bradley Cooper – I met with him several times, and he plugged my book everywhere and that was not lost on me. He said “why wouldn’t I?” It was really classy, because it wasn’t his job to plug that. I was very appreciative of that.

I got to do a lot of interviews with David. I spent more time with David than any of the actors.

But I’m much happier getting an email like I did today from some kid who’s heard me and my story’s helped them out [see the SLJ interview] than I am going to the Oscars.


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Mark’s Palate Cleansers


Interesting question. I definitely get a little overwhelmed by constantly reading with my critic’s eyes, especially this year as I’ve been trying to juggle my reading for VOYA, SLJ (including my new duties as co-editor of Adult Books 4 Teens), and participation in Someday My Printz Will Come and Heavy Medal, plus this blog.  So there’s definitely been more than one time when I’ve felt burned out on reading.

film-adaptation-james-naremoreSo how do I cleanse my palate?  It might seem strange to some, but my go-to palate cleanser is almost always nonfiction.  Nonfiction, especially adult nonficton that I’m not planning on reviewing, engages such different parts of my brain that it really helps to clear my thoughts of all the different fictional worlds I’m trying to remember.  What kind of nonfiction?  As you know, some of my primary non-book interests are music, movies, and baseball–over the years I’ve grown fairly bored with reading about music (except anything that Robert Christgau writes), but I love reading about baseball and movies.  Anything by Jonathan Rosenbaum or James Naremore on film is great. I like these two because (although Rosenbaum still writes some short reviews) their longform work is more analytical and holistic, not endless lists of best movies or whatever.  James Naremore’s book Film Adaptation is a big favorite of mine. 

On baseball, again, I like the more analytical stuff based in Sabermetrics – so the Baseball Prospectus books, or a really great book (which I actually did end up deciding to review, but read just for pleasure) called So You Think You Know Baseball by Peter Melzer which goes through all of the arcane rules of baseball by means of crazy plays that have actually happened in baseball games. 

sanford_levinson_bookI also read a fair number of  books about political science and law.  Classic Richard Hofstadter or Kenneth Stampp, newer stuff by Glenn Greenwald, William Stuntz, Sandy Levinson, Jack Balkin, and others.  Most all of these are pretty dramatically into left-wing politics, which is another interest of mine.

I’m sure many of our readers will find this list a bit bizarre–I cleanse my palate of children’s and YA books by reading four and five hundred page political science books?  But as I said, they are helpful for me to stretch my brain in a different way.  Also, I tend to take my time with these books in a way that I don’t let myself with YA titles which I read fast and hard so I can get on to the next one. 

Good question, though–anyone else have something they use to cleanse their palates?

– Mark


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I still had my library copy of Titanic: Voices from the Disaster on hand, so I went back and examined the charts in the back. And I think you’re (at least partly) wrong.

I agree that the charts are badly labeled, and therein, I think, lies the problem. But I got out my calculator, and all the numbers add up: it just isn’t always clear what numbers you’re looking at. Which, I agree, is a problem in and of itself. Continue reading


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More on Titanic


First of all, a major quibble of my own – I’ve definitely seen A Night to Remember.  It was one of those films (like A Bridge Too Far) that Dad and I would watch endlessly.  Loved it.

I haven’t, however, read Lord’s book, so my primary exposure to the Titanic has been through fictional means–James Cameron’s Titanic film, The Watch That Ends the Night, and probably some others I can’t remember–until Titanic: Voices From the Disaster.  Like you, I think the subtitle is tremendously misleading.  It seems like a pretty straightforward nonfictional narrative of the Titanic’s construction and only voyage, using completely appropriate primary sources as part of its research.  As such, I thought the book was phenomenal.  I knew the overarching story, and a great many specific details, but the way Hopkinson brings them together and makes them really live was wonderful.  And those Browne photographs were a great addition.  There are so many great nonfiction books this year, but this one is definitely near the very top of that list, along with Bomb and We’ve Got a Job.

So, your quibble.  I agree that it’s certainly a mistake to call the man Father Browne since he was not a priest at the time of the disaster. On the other hand, one could argue that the captions are being written from the present day, saying something like “a picture from Father Browne’s collection”–I’m sure that’s what you had in mind when you mentioned that you “make a good argument that all of the captions I object to here are technically correct, when looked at in a certain way.”  Still, it’s worth noting, especially when coupled with what I think is a much bigger problem, which is the tables in the back matter.  At least one, and maybe more of them were completely incomprehensible to me.  Wendy Burton mentioned the same thing on Goodreads, so I know I’m not the only one–I’m pretty sure at least one table either had typos or was missing information.  To me, that’s pretty huge, especially since those tables tell some very interesting stories.

Continue reading


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